Deborah Voigt - Deborah Voigt: Obsessions (Wagner & Strauss: Arias and Scenes)
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Artist: Deborah VoigtComposer: Richard Wagner
Composer: Richard Strauss
Conductor: Sir Richard Armstrong
Orchestra: Bavarian Radio Symphony Orchestra
Performer: Natascha Petrinsky
Edition: Music CD
CD Release Date: 2004-04-06
Music Label: Angel Records
Soundtracks:
- Wagner: Tannhauser - "Dich, teure Halle" (Elisabeth's Aria from Act 2, Scene 1)
- Wagner: Die Walkure - "Du bist der Lenz" (Sieglinde's scene from Act 1, Scene 3)
- Wagner: Die Walkure - "Der Manner Sippe" (Sieglinde's scene from Act 1, Scene 3)
- Wagner: Tristan und Isolde - "Weh', ach wehe dies zu dulden" (Isolde's Curse and Narration from Act 1, Scene 3) with Natascha Petrinsky
- Wagner: Tristan und Isolde - "Mild und leise" (Isolde's Liebestod from Act 3, Scene 3)
- R. Strauss: Elektra - "Ich kann nicht sitzen" (Chrysothemis's scene) with Natascha Petrinsky
- R. Strauss: Ariadne auf Naxos - "Es gibt ein Reich" (Ariadne's scene)
- R. Strauss: Die Frau ohne Schatten - "Ist mein liebster dahin" (Kaiserin's opening scene, Act 1)
- R. Strauss: Die Frau ohne Schatten - "Wehe mein Mann" (Kaiserin's opening scene, Act 2)
- R. Strauss: Salome - "Es ist kein Laut zu vernehmen" (Salome's final scene)
Music reviews of Deborah Voigt: Obsessions (Wagner & Strauss: Arias and Scenes)
Music Review: A Wonderful Wagner and Strauss Recital
Rating: 5 Stars
When I first heard this CD, I didn't think much of Deborah Voigt since I had heard her during her earlier days singing Mathilde in Rossini's Gugliemo Tell with the conductor Evelino Pido. Her timbre at that time was so creamy and rich and beautiful, and as I heard her over the years, I noticed that the qualities that made her such a promising singer in that Tell were not present in this recording. I also heard her do some Verdi roles in the Met, parts that were obviously not suited to her cooler, Germanic sound. A few days ago, after listening to a broadcast of her spectacular Salome from Chicago last fall and her recent Agyptische Helena from the Met, I have to say that I have never been more amazed by this soprano.
Of course, Voigt is no Nilsson, but who else was? I don't think Inge Borkh, Gwyneth Jones, Ursula Schröder-Feinen, Leonie Rysanek, or Hildegard Behrens ever equalled the great Swede in terms of power and focus, and neither will Voigt. But what Voigt has that Nilsson does not is a warmth and a grain to her voice, making Voigt's portrayals of her heroines sound more human than godlike compared to the stentorian Brünnhilde. Voigt's Sieglinde, Ariadne, Elisabeth, Isolde, Salome, Kaiserin, and Chrysothemis are all magnificent characterizations with a human, womanly touch to them. This recital allows the listener to hear showpieces that reflect her talent as a German dramatic soprano, and the listener is immediately drawn by the care to which Voigt lavishes on these selections. Dich Teure Halle is sung with the bright, happy, pure sound one associates with Elisabeth, and if it not a personalized portrayal of the heroine, it certainly is a perfectly sung one. Of the two selections from Die Walküre, Der Männer Sippe is sung with urgent drive, showing us once again that Deborah is the best Sieglinde of our day. She sings Du Bist der Lenz with rapture and beauty, and one would have hoped that she could have partnered Ben Heppner or Domingo to finish the remainder of Act I in this CD. The selections from Tristan are sung with vocal opulence that reminds us how Voigt is quickly becoming one of the best Isoldes today. The Narration from Act I is sung like a powerhouse of rage and sarcasm, and the Liebestod is perfectly sung, albeit lacking that sense of apotheosis that characterized Nilsson and Flagstad in their singing of the part. Although these excerpts were Voigt's starting forays into Isolde, she already shows security and intelligence in this cornerstone of the dramatic soprano repertoire.
The next half of the recital shows Voigt's talents in the Straussian roles where her voice is put to its best use. Unlike the Wagner selections, these Straussian excerpts don't seem to lend as well to cutting, but they nonetheless give the listener an idea of Voigt's mastery of the Straussian idiom. Her large, creamy, grainy voice is ideal for Chrysothemis, and I have never heard Ariadne sung better in these recent years. Voigt is easily the equal of Rysanek as the empress, the steely sheen of her voice perfect for the luminscent character of the Kaiserin. She closes the recital with the final scene from Salome, a selection that shows Voigt's exploration of another dramatic role that she assumed to great acclaim last fall in Chicago. All in all, a great recital, and one would only hope that she had been partnered by a more sensitive conductor like Christian Thielemann.
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Description of Deborah Voigt: Obsessions (Wagner & Strauss: Arias and Scenes)
All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed.Here the beautiful-voiced Deborah Voigt tackles music her sound is made for: big, powerful moments from works of Richard Strauss and Richard Wagner. All 10 selections are handsomely sung, with gleaming, even tone, and some are true standouts. Elisabeth's Greeting from Tannhaeuser is sort of matter-of-fact, but both of Sieglinde's solos from Walküre are filled with urgency and depth and seem to be happening in real time. Ariadne's monolog is suitably ethereal and fantastic (in the true sense of the word) and the "chunks" from Die Frau ohne Schatten and Chrysothemis's monolog from Elektra, though weird out of context, are vocal showpieces. Her Isolde is nuanced and potent, if without the ultimate rage in the Narrative and Curse or the heavenly transfiguration of the Liebestod, and the final scene of Salome, ravishingly sung, does not quite probe this character's berserk Freudian issues. But she's a remarkable singer and this CD is sure to delight; one can bathe in her warm, rich sound. --Robert Levine
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