GRAUN Arias / Lezhneva

CARL HEINRICH GRAUN

Opera Arias
Julia Lezhneva
Concerto Köln
Mikhail Antonenko
Int. Release 14 Apr. 2017
1 CD / Download
0289 483 1518 5


Track List

Carl Heinrich Graun (1701 - 1759)
L'Orfeo

Act 1

Ifigenia in Aulide

Act 1

Coriolano

Act 2

L'Armida

Armida

Act 3

Il Mithridate

I Mithridate

Silla

Sinna

Act 3

Julia Lezhneva, Concerto Köln, Mikhail Antonenko

Rodelinda, regina de' langobardi

Rodelinda

Concerto Köln, Mikhail Antonenko

L'Orfeo

Act 1

L'Orfeo

Act 2

Silla

Sinna

Act 2

L'Armida

Armida

Act 3

Britannico

Act 2

Julia Lezhneva, Concerto Köln, Mikhail Antonenko

Total Playing Time: 1:05:11

Another impressive recital . . . [Lezhneva] dispatches barrages of notes as fluently as if she were sitting picking them out on the piano. In a rare slow number, "Piangete", from the opera "Mithridate", one can admire the long, supple lines of the melody . . . she's expressive throughout . . .

. . . a riveting rediscovery of wonderful music . . . [Lezhneva lends her pellucid timbre and quicksilver technique to create] a compelling portrait of Graun as both composer and dramatist . . . it introduces Julia Lezhneva as not only a superb vocalist, in which role she has earned plaudits throughout the world, but also as a surefooted musical spelunker . . . the tempi enacted on this disc are consistently intelligent, those for extroverted utterances excitingly challenging and those for contemplative passages beguilingly lilting . . . stylish, imaginative playing . . . the orchestral textures are full-bodied, fully convincing backdrops for the emotional tableaux of the arias . . . The ease with which Lezhneva meets the music's bravura demands is flabbergasting, but there is content in her coloratura. The soprano's vocal fireworks are dizzyingly impressive . . . Graun could hope for no more eloquent, committed, and purely beautiful a starting point for the modern listener eager to explore his music . . . Lezhneva's voice is an instrument of innumerable shadows and overtones, the bright sheen of the timbre extending from a gossamer mezza voce to clarion tintinnabulation that projects with power surprising for a voice of modest dimensions . . . With this welcome disc, Lezhneva absorbingly refines her artistry and adds Graun's voice to the growing conversation about the important operatic innovators of the first half of the Eighteenth Century.

. . . [this disc offers] much pleasure . . . Lezhneva has a coloratura ability others might only dream of . . . her tone has become richer and there's more juice to the voice, but with no loss of the angelic purity that made her name.

Lezhneva's got a precision-drilled technique to tackle the highly florid coloratura . . . there's much to admire in Lezhneva's remarkable agility . . . She's at her best in Aristeo's moving "D'ogni aura a! mormorar" from "L'Orfeo" . . . [the fiery sinfonia from "Rodelinda" offers] the playing of Concerto Köln bristling with excitement . . .

. . . [a] potent juxtaposition of sheer tonal beauty and extraordinary coloratura technique . . . Lezhneva's ability to float ravishing cantabile lines is often given full reign, as is her far from negligible vocal acting ability . . . [the aria from "Il Mitridate",] for example, one of the loveliest things on the CD, shows that Lezhneva has not lost her ability to catch at the heart.

. . . herausragenden Interpretationen . . . [auf Lezhnevas neuen CD kommen,] wie schon vorher in anderen rezenteren Programmen, Emotionen mit ins Spiel . . . Gewiss faszinieren uns die anscheinend mühelose Virtuosität und der Elan, aber mit ihren Farben und ihren Nuancen kann sie mit zutiefst menschlichen Regungen singen und uns bewegen, weil sie sich die Figuren, die sie interpretiert, völlig zu eigen macht und sie glaubhaft werden lässt . . . Antonenko liefert mit dem hoch energetisch spielenden Concerto Köln den richtigen Klangteppich . . .
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Technically stunning but also very emotional performances by Julia Lezhneva who embodies the various characters in the most credible way. The singer is very well supported by Concerto Köln.

Rasende Koloraturen, die kompromisslos dem Ausdruck dienen, himmlischer Stimmband-Wahnsinn, der innigste Gefühle zeitigt: Ausnahmesängerin Julia Lezhneva schafft dieses Kunststück. Noch dazu mit vergessenem Barockrepertoire . . . Herausgekommen ist eine jede Millisekunde packende Entdeckungsfahrt in der vokalen Achterbahn, aus der man gar nicht mehr austeigen möchte.

. . . [a force de tenir le rôle de Laodice dans "Siroe" par Graun,] l'artiste apprend peu à peu à rendre perceptibles les sentiments dans son chant. Rassurez-vous, la machine à coudre est toujours là, elle fonctionne toujours impeccablement: vocalises, trilles et autres effets de gosier sont bien au rendez-vous . . . les efforts d'interprétation deviennent de plus en plus fructueux . . . surtout dans "Parmi . . . ah no!", tiré de "Silla", où les mots sonnent chargés de sens . . . les notes hautes sont beaucoup plus lumineuses dans "l'aria di paragone" extraite "d'Orfeo" . . . En fin, le violoniste Dmitry Sinkovsky offre à la chanteuse un soutien nettement plus inspiré . . .

. . . on découvrira ainsi le best of de "L'Orfeo", "Silla", "Armida", "Britannico" ou "Ifigenia", des moments d'une grande intensité dans lesquels l'invraisemblable technique de vocalise de la soprano trouve un terrain de choix . . . [l'accompagnement] assuré par le Concerto Köln, respecte les équilibres et les sonorités telles qu'elles pouvaient résonner en cette première moitié de XVIIIe siècle.