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Dessay, Natalie - Amor (Richard Strauss Opera Scenes & Lieder)

AMOR
RICHARD STRAUSS
Arias & scenes from Ariadne auf Naxos, Arabella, Der Rosenkavalier, Brentano Lieder Op. 68

01 Ariadne auf Naxos, Op. 60: Great Mighty Princess
02 Ariadne auf Naxos, Op. 60: a child's head!
03 Ariadne auf Naxos, Op. 60: At your seats, ladies and gentlemen!
04th Tracks (6), Op. 68: no 2, I want 'a Sträusslein bind
05th Tracks (6), Op. 68: no 3, Whisper, dear myrtle
06th Tracks (6), Op. 68: no 4, When I heard your song
07th Tracks (6), Op. 68: no 5, Amor
08th Arabella, Op. 79: Thank you, Miss
09th Der Rosenkavalier Op. 59: Mir ist ... "Rose Presentation"
10th Der Rosenkavalier, Op. 59: Marie Theres '... Hab' I praised
's 11th Der Rosenkavalier, Op. 59: Is a dream

Natalie Dessay, Feicity Lott (soprano);
Angelika Kirchschlager, Sophie Koch (mezzo-soprano);
Thomas Allen (baritone)

Orchestra of the Royal Opera House, Covent Garden Antonio Pappano
Dir

Virgin Classics 724354570520 (CD) Natalie Dessay's vocal

crisis - she was operated on for nodes on her vocal cords three years ago - is clearly over. The voice has ripened somewhat, but do not worry, the incredible high notes are still present and easily produced, wonderfully, they now have a bit more body. Dessay is a great singer/interpreter, taking little for granted and obviously not satisfied only with coloratura fireworks. Zerbinetta is one of her signature roles, and she knows this complex, winning gal well. She can be cajoling, sarcastic, witty, and sincere--and the way she tosses off high Cs, Ds, and more, with impeccable staccatos and trills, seems as natural as speech. She works the same type of magic with "Amor", the last of the Brentano Lieder recorded here. The song not only contains a vocal imitation of flame but involves a fascination with Cupid, who is oft-described here as "wily" ("schlaues"), a word Dessay emphasizes differently each time she sings it. The other three Brentano songs are by turns gentle, rapturous, and filled with longing.
In the extended scene from Ariadne, Dessay is convincing and conversational with Sophie Koch (Composer), who delivers her aria with passion and seems to lack only a bottom note or two to fill the role ideally. In the Act 1 Arabella/Zdenka duet she is girlish and loving of her big sister, with just an imperfect, soft high note to vaguely mar the achievement, and Arabella is unaffectedly sung here by Felicity Lott. The two genuinely sound fond of one another.

But the pièces de résistance on this CD are the highlights from Rosenkavalier--the Presentation of the Silver Rose and final trio and duet. Here we strike gold (or silver). Dessay sounds youthful and pure in the Presentation and sings with the most lovely legato and tone at the opera's end. She's abetted by Angelika Kirchschlager as Octavian, who is simply perfect, and Felicity Lott, also smooth as silk as the Marschallin. The performances are so good that it's easy to forget that we're only hearing excerpts. Thomas Allen is the Faninal and, in Ariadne, the Music Master, and frankly he sounds younger and better than he has in a while. Antonio Pappano is becoming an all-purpose, great opera conductor, and the Covent Garden orchestra is polished and elegant. The sound is rich and full. This CD is a gem.

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