Lise Davidsen’s vocal mastery shines on new album

Lise Davidsen, “Beethoven, Wagner, Verdi” (Decca) To open up her new album, Norwegian soprano Lise…

Lise Davidsen, “Beethoven, Wagner, Verdi” (Decca)

To open up her new album, Norwegian soprano Lise Davidsen revisits the function that offered her most latest operatic triumph.

It is really a sensible choice for this eclectic assortment of arias and tracks. As Leonore, the wife determined to free her unjustly imprisoned spouse in Beethoven’s “Fidelio,” Davidsen produced a feeling at London’s Covent Backyard in advance of the run was minimize limited by the pandemic a calendar year back.

It really is uncomplicated to see why. Her voice moves seamlessly from outrage to tranquility to heroic resolve. And all through the aria she demonstrates the blend of purity and electrical power that at age 34 have designed her distinctive among the today’s sopranos.

The same mastery of temper changes marks her overall performance of Beethoven’s concert aria “Ah! Perfido,” the lament of an abandoned lover.

Two much more scorned women are on exhibit in excerpts from Cherubini’s “Medea” and Mascagni’s “Cavalleria rusticana.” The latter demonstrates her relaxed in verismo territory, infusing a little bit of Sicilian warmth into her innately amazing, Nordic sound.

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The two Verdi roles represented here are the only kinds she has not sung on phase and they are a examine in contrasts. Leonora’s “Rate, rate mio Dio” from “La Forza del Destino,” is a car or truck for a dramatic voice, and the higher B-flat scream at the finish is correctly chilling. In Desdemona’s “Ave Maria” from “Otello,” Davidsen scales back again her voice to reach some beautiful consequences — like the way she starts the final syllable of “Amen” quietly and gradually boosts the volume to evoke her anguish.

The soprano switches gears for the remaining 3rd of the album with Wagner’s five “Wesendonck Lieder,” tunes he composed while functioning on “Tristan und Isolde.” In fact, two of the tracks have themes on which he elaborated in that opera.

Wagner wrote the tunes for piano accompaniment and afterwards orchestrated just one of them, “Träume” (“Goals”). The many others are read in variations orchestrated by Felix Mottl and played by the London Philharmonic Orchestra performed by Mark Elder.

For lots of listeners these performances will be the album’s chief attraction, considering the fact that Isolde is a purpose Davidsen designs to choose on in a handful of several years. Judging by her luminous singing listed here, it will be worth the wait around.