Notes and Editorial Reviews
Idomeneo, Le Nozze di Figaro, Die Zauberflöte, Don Giovanni, Die Entführung aus dem Serail
Marina Rebeka (sop); Speranza Scappucci, cond; Royal Liverpool PO
WARNER 154972 (59:03
Text and Translation)
Promising young Latvian soprano Marina Rebeka presents here her first solo recital album, a program of 10 Mozart opera arias (several with introductory recitatives) sung by seven different characters from five of Mozart’s
finest operas. Rebeka, a lyric coloratura, provides plenty of soaring, sizzling coloratura as Elletra in
, the Queen of the Night in
, and Konstanze in
Die Entführung aus dem Serail
, along with some more wistful lyrical moments from the Countess in
Le nozze di Figaro
and from Pamina in
. One of Rebeka’s early role specialities has been Donna Anna in
(she has sung it at the Met, among other venues). Here, we are given Anna’s “Non mi dir” along with an aria from Donna Elvira as well, confirming the young singer’s widening versatility.
Rebeka has had some impressive vocal schooling, including the Santa Cecilia Conservatory in Rome, a summer program at the Mozarteum in Salzburg (under the tutelage of Grace Bumbry), and the Academy Rossiniana in Pesaro (under the direction of Alberto Zedda). Technically, she sings very cleanly, with excellent intonation, and a solid command of her top range, although one or two of these arias challenge that. She exhibits good vocal flexibility in Mozart; I will be interested to hear her sing Rossini. To a degree, all of the songs here are sung by unhappy women, but Rebeka seems more at home with the rage arias of Elettra and the Queen of the Night as well as the pyrotechnic defiance of Konstanze, threatened with rape and torture. The soprano seems to lose a bit of interest when singing the more sorrowful, wistful plaints of the Countess or Pamina, although they are sung well enough. Learning arias is different than learning roles, and given time, most young singers become better interpreters as they gain experience. In a couple of instances Rebeka picks inopportune places to take a breath, interrupting the vocal line, and in “Martern aller Arten” her chest voice proves no more than serviceable. Diana Damrau is very good in this aria on Virgin Classics.
Despite the quibbles, this is a quite enjoyable first outing for Rebeka, with some fine singing and an interesting and somewhat unusual mix of Mozart arias. Solid musical support is provided by the Royal Liverpool Philharmonic under young conductor Speranza Scappucci. Warner gives us a few color pictures of the photogenic Rebeka as well as brief bios and full texts with English translations. Recommended.
FANFARE: Bill White
Works on This Recording
Be the first to review this title