The Best of Kathleen Battle
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Canadian Music Store CD DetailsBrand: MilleniumComposer: George Gershwin Composer: Wolfgang Amadeus Mozart Composer: Gustave Charpentier Composer: George Frederick Handel Composer: Ambroise Thomas Composer: Gaetano Donizetti Composer: Gabriel Faure Composer: Johann II [Junior] Strauss Composer: Spiritual Traditional Composer: American Traditional Conductor: André Previn Conductor: James Levine Conductor: Myung-Whun Chung Conductor: Bruno Campanella Conductor: Carlo Maria Giulini Conductor: Herbert von Karajan Orchestra: Orchestra of St. Luke's Orchestra: Metropolitan Opera Orchestra Orchestra: Bastille Opera Orchestra Orchestra: London Philharmonic Orchestra Edition: Music CD CD Release Date: 2004-11-09 Music Label: Deutsche Grammophon Soundtracks:
Music reviews of The Best of Kathleen BattleMusic Review: A Great Coloratura Soprano
Coloratura sopranos are a dying breed today. The era of Lily Pons and Beverly Sills is long gone and opera audiences favor a more "heavy" coloratura sound- or at least a full lyric one, such as the voice types of Kiri Te Kenawa, Carol Vanness and Renee Fleming. Kathleen Battle was in many ways an artist who payed homage to the coloratura queens of olden days. Only Natalie Dessay, of late, represents that kind of singer. much This album showcases her best work, and she is in fine voice, bringing a luminous and sunny quality to her interpretations, while keeping the dramatic appeal of the text. She was at best a Handel/Mozart/Strauss/Gounod singer, and never fared well in the more dramatic reperotoire of Verdi or Puccini heroines. She never sang Madame Butterfly, which if she had gone through training, she could have nailed, especially because her dramatic aspirations coupled with her soft, vulnerable sound would have suited her as Ciao Ciao San, in the way that Ying Huang interpreted the role. Verdi opera must have frightened her and she could never dream of taking on the roles that Leontyne Price performed, surely an influence in her student days made all the more credible because Leontyne Price was a "sister" African-American. So Leonora, Aida and Suor Angelica were out of her reach. While she sang with Jessie Norman in concert and recitals (like the Spirituals Concert), she must have been secretly or overtly ? jealous of the fact that Jessye Norman had a voice that could swallow the world!! A big, beautiful voice such as Ms. Norman's is closer to the true goddesses of operas in the tradition of Maria Callas, while Battle is more of the "tiny, bright, canary" voice. She ranks among the best of the lighter sopranos- Beverly Sills, and like Sumi Jo today. Her fellow co-artists used to call her the "Singing Mosquito". But she is marvelous in singing Handel oratorio(the only times I've heard her sing live), Mozart- Sussannah, Zerlina, the Countess in Figaro, Gounod- Juliette, Bizet- Micaela, but could never truly master the more difficult Mozart heroines- Dona Ana in Don Giovanni or Fiordiligi in Cosi Fan Tutte or even Konstanza in Die Entfurung, though try she did. In Strauss operas, she made a fine Zerbinetta, though she always oozed a confidence that made it seem as if these difficult pieces were a piece of cake for her. Some arias in this collection appear that way too.
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