Anonymous
Posted October 1, 2010
Contralto Stephanie Blythe has a warm, fluid voice that reminds me immediately of countertenor David Daniels, especially since she sings more accurately in the mezzo-soprano range. What they have in common is an artful blending of male and female vocal characteristics that produces a strong sound, rich and seductive. Dramatically she is not quite at his level yet, but it is a tribute to her interpretative talents that she can convincingly sing both Cesare and Cornelia in "Giulio Cesare in Egitto" in the four beautiful arias here. The disc's high point is in fact, a mother-son duet performed with Daniels, "Madre!...Son nata a lagrimar". Their voices meld together wonderfully. What I find intriguing is how his higher, more nuanced voice brings out the dramatic intensity of the piece, while Blythe's superb lower register brings out a lovely contrast since her voice dips deeper than Daniels'. It is as perfect a match as you'll hear in the Baroque world. The remainder of the Handel arias displays her exceptional range, especially the plaintive "Ombra mai fù" from "Serse" and the vocal agility she displays in "Iris, Hence Away" from "Semele". The second half of the disc features four arias from Bach's "Passions", all more spiritual in tone than the Handel pieces but not as interesting dramatically. She still sounds lovely, but a certain monotony creeps into the last half-hour since these arias seem to create the same dream-like atmosphere and consequently do not require her to utilize her interpretative skills fully. John Nelson conducts the Ensemble Orchestral de Paris effectively, and perhaps to embody the spirit of the Bach pieces, the disc was recorded in a church, the Eglise Notre Dame du Liban in Paris. It is an impressive recital debut and makes one look forward to Stephanie Blythe's next work.
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Posted January 21, 2009
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Posted January 13, 2009
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Editorial Reviews
Barnes & Noble - EJ Johnson
Stephanie Blythe, who makes her recording debut with this impressive disc, may remind you of Marilyn Horne, which is saying a lot of this up-and-coming mezzo. Especially rich in the lower register, Blythe's voice is well focused and well placed, her coloratura remarkably fleet for a voice of such size. She offers arias by Handel and Bach, most in a slow, lyrical mode and many of which are familiar -- the opening "Ombra mai fu," for example. That famous aria is very beautifully done, stylish and expressive but never to excess, which could be said of any of the selections here, really. Countertenor David Daniels joins her for Julius Ceasar's "Son nata a lagrimar," providing...