in Opera Now (Apr, 2019)
Infinitely less successful is Olga Peretyatko in Mozart +, a series of arias by that composer and less-known contemporaries such as Traetta and Martín y Soler. It’s an interesting idea not ideally executed. On her website, Peretyatko quotes that her ‘agile soprano voice has gained in suppleness and lush depth’. I would disagree. I am hearing a worn and sometimes acidulous tone, particularly in the passaggio, and a cautiously managed vocal production. I must admit that there is a handful of brighter and more confidently managed notes above the stave, but the ascending in Martern aller Arten from Die Entführung are not flung out thrillingly. But then neither is the …
Mozart Plus – Olga Peretyatko
Traetta Antigona: Ombra cara, amorosa
Traetta Antigona: Io resto sempre a piangere
Traetta Antigona: Finito e il mio tormento
Martin y Soler Il burbero di buon cuore: Chi sa, chi sa, qual sia, K. 582
Martin y Soler Il burbero di buon cuore: Vado, ma dove?, K. 583
Martin y Soler Il burbero di buon cuore: Infelice ad ogni istante
Mozart Die Entführung aus dem Serail, K. 384: Welcher Wechsel herrscht in meiner Seele
Mozart Die Entführung aus dem Serail, K. 384: Traurigkeit wird mir zum Lose
Mozart Die Entführung aus dem Serail, K. 384: Martern aller Arten
Paisiello Il barbiere di Siviglia, R. 1.64: Giusto ciel, che conoscete (Cavatina)
Mozart Le nozze di Figaro, K. 492: E Susanna non vien
Mozart Le nozze di Figaro, K. 492: Dove sono i bei momenti
Mozart Don Giovanni, K. 527: Or sai chi l’onore
Mozart La clemenza di Tito, K. 621: Non piu di fiori
Olga Peretyatko, Sinfonieorchester Basel, Ivor Bolton
21,60€
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