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Call Me Flott
     

Call Me Flott

by Graham Johnson
 
While she is much beloved in her native Britain, for whatever fluke of timing or circumstance, soprano Felicity Lott has never achieved international superstar status, although her stellar vocal qualities -- clarity, purity, flexibility, and warmth -- combined with her exceptional skill as a singing actress, particularly in comedy, make her a singer who deserves to be

Overview

While she is much beloved in her native Britain, for whatever fluke of timing or circumstance, soprano Felicity Lott has never achieved international superstar status, although her stellar vocal qualities -- clarity, purity, flexibility, and warmth -- combined with her exceptional skill as a singing actress, particularly in comedy, make her a singer who deserves to be widely known. Her recordings from the 1990s and early 2000s, including Fiordiligi in Charles Mackerras' 1994 "Così fan tutte" and her version of Schumann's "Frauenliebe und -leben" are testaments to her tremendous talent. This 2009 recording of light songs in English showcases Lott's gifts for etching memorable characters in pieces lasting just a few minutes, as well as demonstrating her emotional range. The collection is notable for its diversity, with the songs of classical composers like Britten, Poulenc, Barber, Hahn, Gounod, and Saint-Saëns happily commingling with Berlin, Cole Porter, Coward, Kern, and Flanders & Swann. Lott was in her early sixties when she recorded this album, so perhaps it's inevitable that her voice would have lost some of its freshness and flexibility. In the "popular" songs, which make less technical demands on the performer, Lott shines and is fully convincing. In some of the songs, though, such as Britten's Fancie, she sounds strained and makes the listener wish she had made this recording a decade earlier. Although her voice is diminished, overall her performances are fabulous. Standout selections include Porter's "The Physician" and "Miss Otis Regrets," Coward's "Mad About the Boy," Barber's uncharacteristically bluesy "Solitary Hotel," Kern's "You Can't Make Love By Wireless," and Flanders & Swann's hilarious "A Word on My Ear."" Pianist Graham Johnson is a longtime collaborator with Lott, and the two have real chemistry in the interplay between the vocal and instrumental parts. The sound is clean, but the miking seems somewhat distant, so the volume may need to be adjusted.

Product Details

Release Date:
04/27/2010
Label:
Champs Hill Records
UPC:
5060212590039
catalogNumber:
3
Rank:
212574

Tracks

  1. The Party's Over Now (used in Cochran's revue "Words And Music")
  2. Let's put out the lights
  3. Call Me Flo, song
  4. I Love a Piano, song (from Stop! Look! Listen!")
  5. A Word on My Ear
  6. Come on Algernon, for voice & piano
  7. The physician, song (from "Nymph Errant")
  8. The Return from Town, song for voice & piano (Two Amercian Poems No. 2), F. 184/2
  9. Mad about the boy
  10. Litany, for voice & piano
  11. Miss Otis regrets, song (used in the play "High Diddle Diddle")
  12. What'll I Do?, song
  13. Solitary Hotel, song for voice & piano (Despite and Still), Op. 41/4
  14. Song of a Nightclub Proprietress
  15. If love were all
  16. O That It Were So, for voice & piano
  17. Petites chansons (5) (Little English Songs), song cycle for voice & piano: The swing
  18. Under the Greenwood Tree
  19. Fancie: Tell me where is fancy bred, for unison chorus & piano
  20. Fancy ("Tell Me Where Is Fancy Bred"), song for voice & piano, FP 174
  21. It Was a Lover and His Lass

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