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This disc of arias from five Mozart operas showcases the soprano Barbara Frittoli. When Graham Vick’s ill-fated Don Giovanni was featured in the 2000 Glyndebourne season, almost the only thing that wasn’t booed was Frittoli’s Donna Anna: a model of decorum, elegance, and vocal poise amid the onstage carnage, which confirmed her status as one of the outstanding Mozart sopranos of the past decade. Elviras, Annas, Fiordiligis, and Contessas have become her stock-in-trade; and h… More >>
Barbara Frittoli ~ Mozart / Sir Charles Mackerras, Scottish Chamber Orchestra
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#1 by Annio on April 24, 2010 - 5:27 am
En este disco descubrimos las tremendas cualidades para el canto mozartiano de esa gran soprano que es BARBARA FRITTOLI: voz carnosa, bella y uniforme, de timbre doliente muy adecuado a los personajes atormentados que aquí aparecen (Fiordiligi, Condesa, Elettra, Donna Anna, Donna Elvira y un aria de concierto) hacen de esta soprano lirica italiana una de las maximas referencias actuales para el canto mozartiano, y de este disco un testimonio que hace justicia a esta gran interprete. Lástima que un ligero vibratto afee la prestacion de Frittoli en algunos (pocos, muy pocos) momentos. SIR CHARLES MACKERRAS dirige con brio a la ORQUESTA DE CAMARA DE ESCOCIA, en un disco que se antoja corto, y de programa muy visto ya antes, pero que pese a todo esto es de lo mas recomendable. Probablemente Frittoli sea la mejor soprano lirica mozartiana del momento. Un disco para escuchar a Mozart cantado de manera muy notable.
Rating: 4 / 5
#2 by Anonymous on April 24, 2010 - 7:06 am
I am by no means an expert on classical singing, although it makes up a good 75% of what I listen to. For references, I prefer Renee Fleming to most any soprano out there, Cecilia Bartoli to Jennifer Larmore, Domingo to Pavarotti (Domingo being the better actor) etc. Frittoli to me has a voice better suited to Verdi than Mozart. It is a heavier sound than those I customarily associate with Mozart, but then, as I said, I’m no authority. Let’s just say that I prefer the Mozart albums of Dessay or Fleming or even Kathleen Battle to this. Frittoli’s bottom notes seem forced, her tone patchy at times. The top is lovely, but all in all seems not well-matched to the material. I look forward to her Verdi album to see if I’m not right — at least in my own mind!
Rating: 3 / 5
#3 by Daniel A. Swick on April 24, 2010 - 8:42 am
Barbara Frittoli is an exasperating performer. Her’s is a beautiful midweight lyric soprano, excellently controlled and even throughout it’s range — in short, an ideal voice for Mozart. Unfortunately Frittoli seems disinterested throughout much of this recital. Instead of digging in and giving these vocal masterpieces the heart and fire they deserve, Frittoli seems content to simply sing them well but ambiguously. Occassionally her singing catches fire as in “Mi tradi” and “Come scoglio”, but when an aria as emotional charged as “D’oreste d’ajace” fails to ignite even minutely, something is very wrong. Vocally she seems tired, the top often lacking the floated quailty it usually has — might the recent string of Trovatore “Leonoras” have something to do with this. Frittoli is a talented singer, hopefully she records another opera recital that better displays what she has to offer than this correct but boring disc.
Rating: 3 / 5
#4 by NMdesapio on April 24, 2010 - 11:17 am
Decades ago it was quite rare to hear Italians singing Mozart, but in recent years we have been blessed with many fine Italian Mozarteans, including Cecilia Bartoli, Giuseppe Sabbatini, Alessandro Corbelli, Ferrucio Furlanetto – and Barbara Frittoli. Soprano Frittoli’s Mozart CD offers several of the composer’s best-known arias for soprano — Fiordiligi’s from COSI FAN TUTTE and the Countess’ from LE NOZZE DI FIGARO; Donna Elvira’s “Mi tradi” and Donna Anna’s “Non mi dir” from DON GIOVANNI – plus Elettra’s furious “D’Oreste, d’Aiace” from IDOMENEO and a concert aria, “Bella mia fiamma, addio.” Frittoli’s voice is amber in hue and gloriously even from top to bottom, with a rich, Italianate vibrato. If her arias from COSI lack in character compared to Bartoli’s renditions of the same arias (on her now-classic “Mozart Portraits” CD), this is because Frittoli is an essentially MUSICAL artist who does not so much CREATE a character as sing as though she IS the character. Frittoli’s is a good CD to buy if you want the most famous of Mozart’s soprano arias on one disc; but I would also highly recommend Bartoli’s “Mozart Portraits” (to my mind, the greatest Mozart collection ever recorded) and Renee Fleming’s beautiful “Mozart Arias.”
Rating: 5 / 5
#5 by Anonymous on April 24, 2010 - 1:48 pm
Barbara Frittoli is a relative newcomer to the international scene but has now started to sing at the Met in NYC so should become better known to American audiences.
This recital shows her abilities in Mozart quite well with natural, flowing tempos set by Charles Mackerras. Ms. Frittoli has performed most of these roles on stage (Elvira in Paris, Anna at Glyndebourne, the Countess at La Scala, etc.) and this stage experience comes through in the characterizations and coloring of words. Her fiery Elettra stopped an August concert “Idomeneo” in its tracks after “D’Oreste, d’Aiace” at the Edinburgh Festival and I look forward to that complete recording (Mackerras: Bostridge, Milne, Frittoli, Hunt Lieberson) immensely. She is nothing if not dramatic with a true Italian intensity and rolling “r”s. This is an intelligent, wellsung and wellconducted recital. Keep an eye out for this lady to take her place among the best Verdi and Mozart singers of her generation and hear her now in her early prime.
Rating: 5 / 5