5つ星のうち5.0Uncompromising Individuality from Anna Catarina Antonacci, David Daniels and Ivor Bolton
2015年8月30日にアメリカ合衆国でレビュー済み
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My first comment must be that it is a shame that this production was not filmed in the Prinzregentherater in Munich where it was staged by Christopher Alden. All of the singers are flexible and believable actors and might have left us the definitive DVD. Alas. The sound is excellent and bears the authentic stamp of a chamber performance. Anna Catarina Antonacci brings focus and beauty to Poppea, seductive in all her phrases, as well as conveying danger.. David Daniels sounds glorious, in his prime here, and ranges from suave to unhinged. Monteverdi's music requires imagination, technical finesse, and above all, commitment in recitative. The words carry the drama as surely as the music. A large cast, familiar to anyone who knows the German repertory theaters of the time, brings glory to that kind of house. Of course, Kurt Moll is more than a repertory singer; he is a star who would dominate any era. To hear his Seneca in this acoustic is a thrill. His rolling bass, sounding like God, defends his philosophical integrity despite Nero's expedient threat of death. Hearing his chorus of followers, merely three voices, singing "Non morir Seneca," a sublime use of chromatic ascent long before Wagner, proves the efficacy and greatness of Monteverdi. The huge cast is uniformly expressive and intense. And the seduction of Antonacci and Daniels carries us aloft. They far exceed their counterparts on other recordings. There may be more purely beautiful voices (including the newcomer Sonya Yoncheve) but Antonacci digs into the words and music like the great artist she is. David Daniels will mark this era as a countertenor who brought supreme lyricism and musical intelligence to his roles. Ivor Bolton plunges the depths and heights with his ten players and many singers. We will never know what Christopher Alden had achieved; usually he brings originality and daring to his stagings, not to everyone's taste… We have FARAQ classics to thank for this 1997 recording.
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