by Steven Ang

In yet another well-timed marketing plan, the popular soprano and her label Decca have clearly aimed this CD release to coincide with her debut in Handel's Rodelinda at the Metropolitan Opera. Harry Bicket, conducting this CD recital with his own Orchestra Age of Enlightenment, will also be handling the Met orchestra during the run of performances. The production will also feature Americans David Daniels, Stephanie Blythe, and the countertenor Bejun Mehta.

And somewhere high up in the gallery, I will be among the thousand-strong crowd yelling "RENEE! RENEE!!!!!!!!!!!!"

Yes, I admit, I am a big, big fan, although it was only a few years ago that  I called her 'Renee Phlegming'. But I've seen the error of my ways, renounced my sinful past, and looking forward to my first pilgrimage to the Mecca of opera, to witness the Goddess (English for Diva) herself in action!

But this article is not about my holiday plans. This article is an impartial, rational critique of the newly released CD (which I bought from Sing Music, 2nd floor of Lucky Plaza). So in my own impartial, rational way, let me just say that this CD RAWKS!!!!!!!!!

Seriously now. Since the baroque revival started, Handel's vocal works have been steadily increasing in popularity, so much so that many of his operas are taking over stage time from the Verdis and Puccinis. Giulio Cesare is certainly the most popular, and gaining momentum in audience numbers in productions world-wide are Semele, Theodora, Serses, and of course, Rodelinda. There are also many notable CDs of Handel's works, notably Bryn Terfel's award winning recital on DG, whom many of my friends have enjoyed. This new release should entice the same group of followers, with its mix of popular arias and rarities, as Renee explains in the CD sleeve, "hence the inclusion of, for instance, "Sommo rettor del cielo, d'una torbida sorgente" from Lotario which has rarely been recorded and the jewel "Calm thou" from Alexander Balus"

And after acquiring numerous victories in the many fields of opera and classical vocal music, as varied as American contemporary operas to bel canto to semi-dramatic parts like the Verdi Requiem (lets not talk about her musical-theatre and 'jazz' efforts), the operatic queen of reinvention is now set on re-fashioning herself as an early music specialist. And she pulls off this new image wonderfully well.

Performance wise, her performance here rates as one of the best in the Handel discography. Unlike the tiny, twittering sopranos usually associated with this repertoire, here's a soprano with a full, velvety tone, like a cool strawberry milkshake. Lyrical in nature but capable enough to tackle the heavy demands of the Verdi Requeim, sung with the experience of a veteran singing-actress, and the virtuosity of a bel canto soprano. In short, Renee can tweeter, trill, and sing runs with the best of them, and she can do it in a style that is all her own.

Detractors of the soprano will have less cause for complaints; if you have heard her American Arias CD and found her English pronunciation indecipherable (as I have), her pronunciation of the English numbers here is much clearer. Gone too, are the excessive scoops and exaggerated sighs. Instead, what we have here is a performance that is as authentic as the baroque experts can get. In the da capo sections, Renee ornaments liberally but not excessively, showing off as much for musical and dramatic reasons, not just for plain vanity.

There are many highlights here. Voice students will immediately go for their homework-exercises, like Rinaldo's Lascia ch'io pianga, and the ever-popular Ombra Mai Fu. Opera lovers will love the Giulio Cesare excerpts and pray for the day when La Renee will take on the role of Cleopatra. Samson's Let the Bright Seraphim, aka Princess Diana and Price Charle's Wedding Theme as sung by Kiri te Kanawa , is done wonderfully well and does not lose out to the latter's famous hit. Handel connoisseurs, such as myself, will also appreciate the excerpts from the aforementioned rarities, as well as the two arias from Agrippina, Pensieri, and Bel piacere (the latter was also reused for Rinaldo.)  

Fans of the Diva too, will love the variety of emotions portrayed. From the vanity of Semele, to Rodelinda's yearning, to Rinaldo's villainess Arimida in her cruel sorrow. Admirers of her dramatic poweress will not be disappointed. The opera queen will also like the popular Serse excerpt, her only male portrayal here. I'm sure Renee in drag will make a really handsome man! My only grouse is that there are no excerpts from Messiah, Handel's most popular work. Also, only one aria from Rodelinda made it to the recording. I would have liked a better preview of what's to come.

The OAE, under Harry Bicket, supported the singer in the warmest, most loving way possible. Having played many of the arias hundreds of times, their knowledge of the music shows, and their partnership with the soloist was a close, intimate collaboration. Renee writes in the CD sleeve, “...the evocative playing of the Orchestra of the Age of Enlightenment with Harry Bicket was a constant inspiration. In the heat of recording, I may have actually been heard to swear off ever singing with a modern orchestra again!"

Overall, this is one of the most enjoyable CDs I have bought in a long time. The beautiful cover shot in maroon-red is a big bonus. And in yet another example of perfectly timed marketing, the back cover of the CD sleeve also contains an ad for her new book, called The Inner Voice, The Making of a Singer. Go grab a copy (of the CD) at Sing Music, Lucky Plaza. I award this album 4.5 out of 5 stars.

Also read: Steven's Journey to the Met

Readers' Comments

From: Brian Clark (bc16661@hotmail.com / Friday, November 5, 2004 at 17:11:42)

 

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