Karita Mattila - Arias & Scenes / Yutaka Sado, LPO
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CD Details
Edition: Music CDAudio: German (Unknown); English (Original Language); German (Published)
CD Release Date: 2001-06-19
Music Label: Erato
Soundtracks:
- Tchaikovsky: Uzh polnoch blizitsa
- Puccini: In quelle trine morbide
- Wagner: Einsam in truben Tagen
- Wagner: Euch Luften, die mein Klagen
- Tchaikovsky: Zachem zhe eti sliozi?
- Verdi: Come in quest'ora bruna
- Janacek: Mamicko, mam tezkou hlavu
- Wagner: Der Manner Sippe
- Wagner: Du bist der Lenz
- Strauss: Ich kann nicht sitzen ins Dunkel starren
- Lehar: Vilja-Lied
Music reviews of Karita Mattila - Arias & Scenes / Yutaka Sado, LPO
Music Review: a voice that lets you indulge
Rating: 5 Stars
I had the pleasure of seeing Miss Mattila in Puccini's Manon Lescaut recently at Houston Grand Opera. Heretofore, I didn't know what her voice sounded like. An Italian friend of mine does not like her, so I figured she was one of those hyped-up divas that we encounter so frequently these days. But, I have to confess that Mattila blew me away in the theater. Her performance was full of nuances and telling gestures; Mattila is a very gifted singing actress, not to mention striking. Then there's that voice, which is creamy, with a touch of smokiness. The richness of her voice would lead you to believe her incapable of a thrilling high note, until she wows you by opening up her top with laser-like intensity.
Some Fleming fan had the nerve to claim that she ranked far below Fleming in terms of vocal assets. By that, I guess they meant scooping, sliding, conspicuously sighing, bellowing, etc.
This is a stupendous first CD recital for Karita. We are treated to some of the most dramatic and moving music in the whole opera canon. Mattila leaps head-first with an excerpt from Pique Dame. Here, she demonstrates how well she can connect with the words and mood of what she sings.
Next follows In Quelle Trine Morbide. Unfortunately, she mars the aria with some audible breathing, something I also noticed in the theater. Never fear- from here on, Mattila's top notch.
When I first heard Einsam in Truben Tagen, it was rather jarring. I was so accustomed to Nilsson's and Schwarzkopf's interpretations on disc. But, after repeated listens, I can say with confidence that Mattila's delivery of the aria is no less triumphant. Her richness pays even greater dividends in the second excerpt from Lohengrin.
By the time she sings Come In Quest'ora Bruna, I found myself really cheering the diva on. The role of Amelia is perfectly tailored to her voice. I asked myself why this aria almost never surfaces on recital discs. Maybe it took a Karita Mattila to demonstrate Verdi's genius.
Now, as others her have stated, the scene / prayer aria from Jenufa may well be the highlight in a disc full of highlights. Mattila masterfully navigates the complex range of moods in this pivotal sene, never succumbing to Fleming-like sighs and histrionics. Simply put, Karita proves capable of bringing a tear or two to your eye.
By now, you are in aural heaven. Mattila keeps you on cloud nine with two superb excerpts from Die Walkure, and a very fine one from Elektra. In the latter, she is given a formidable test of her vocal talents, and soars with flying colors.
Like many others, I find the Vilja-Lied as the end piece rather odd, after some twenty minutes-plus of riveting drama. I wish it could have been Sola, Perduta, Abbandonata instead. Oh well, nevermind. This recital is pure gold.
Don't let anyone tell you that the golden days of operatic singing are over. Grazie, Mattila.
Description of Karita Mattila - Arias & Scenes / Yutaka Sado, LPO
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