Pianger Di Dolcezza

Pianger Di Dolcezza

Pianger Di Dolcezza
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Category: Music CD
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CD Details

Edition: Music CD
Audio: English (Unknown)
CD Release Date: 2009-11-10
Music Label: Etcetera

Music reviews of Pianger Di Dolcezza

Music Review: Primavera per me ...
Rating: 5 Stars

Jill Feldman has an extraordinary voice, a soprano with the velvety darkness of an alto, but it's her ability to modulate her dynamics and inflect her vowels that make her one of the most expressive singers I've ever heard. She can sing a single prolonged tone and, without ever varying the pitch, just by shading her timbrel or shifting her intensity almost subliminally, turn it into an affective phrase. She doesn't need vibrato to 'color' her tone, and thus she's at liberty to use it properly, as an ornament. She can also toss off diminutions, cadential figures, trills and 'goat' trills -- the full panoply of Italianate ornamentation -- without sounding as if she's tacking something on, striving for effect. I wonder if even the composers -- Caccini or d'India -- would be sure whether what she sings were his notes or her improvisations. In short, she has the perfect historical technique to sing these early baroque settings of the "grande poesia italiana" of Petrarca, Tasso, Guarini, and others.

One of the poems on this CD - "Torna il sereno zefiro", attributed to Sigismond d'India - is so sublimely touching that I need to quote it:
Torna il sereno Zefiro
e gli augellini garruli
de' boschi dolci musici,
cantando insieme, temprano
al suon del rio che mormora,
concordi, note armoniche.
Io sol, involto
il triste core,
anzi sepolto
in trist'orrore,
al suon del pianto intono in triste lai:
Primavera per me non sarà mai.

The last line/refrain translates: "Spring will never come for me." You'll need to get the CD to learn the rest, which is three stanzas long, fully translated to English and French. The poem, the music, and Jill Feldman's passionate singing play my heartstrings like a lute every time I hear it.

The music of the 17th C in Italy was devoted to affective expression of poetry, to emotion above all, and in a recital like this, it's the affective immediacy of the performer that matters more than the structural ingenuity of the composer. Giulio Caccini and Sigismondo d'India would have agreed; their 'art' was subordinate to the voice and the words. There is no music except in the sounds you hear. But the subtlety of Caccini's and d'India's settings -- and of Monteverdi's, Rossi's, Rovetta's etc. -- is breathtakingly beautiful as sung by Ms Feldman. "Evocative", please note, has "voce" (voice) as its root.

Feldman is accompanied by lutenist Karl-Ernst Schröder and/or harpist Mara Galassi as basso continuo. The two instrumentalists also contribute several elegant preludes and capriccios by Hieronymus Kapsberger, Bellerofonte Castaldi, and Giovanni Maria Trabaci. The combo of lute and harp is dazzling. Sad to report, Charlie Schröder died in 2003, not long after this recording was made; the CD is explicitly dedicated to his memory,

I need to confess that Jill Feldman and I are longtime friends, though that does not, I hope, impugn my judgment that she is one of the finest sopranos in the whole world of Early Music. Jill and I traded lessons some decades ago, she learning to play the recorder and I floundering to become a baritone singer. Neither of us made quite enough progress to affect the directions of our musical careers, but Jill went on to become an outstanding voice teacher in Paris, shaping the art of several current vocal superstars. You can also hear her lovely voice on a number of recordings conducted by William Christie and as a member of the Medieval ensembles "Tetrakys" and 'Mala Punica'.

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