Lahti Symphony Orchestra, Sakari Oramo, Anu Komsi - Coloratura (2012) [Hi-Res]

Tracklist

01. Coloratura Soprano Concerto, Op. 82: I. Andante
02. Coloratura Soprano Concerto, Op. 82: II. Allegro
03. Hamlet: Hamlet, Act V: A vos jeux, mes amis
04. Lakme: Lakme, Act II: Ou va la jeune indoue, "Bell Song"
05. Solovei (the Nightingale) (arr. E. Koskimies for voice and orchestra)
06. Die Zauberflote (the Magic Flute), K. 620, Act II: Aria: Der Holle Rache kocht in meinem Herzen
07. La Machine de l'etre: I. teteme
08. La Machine de l'etre: II. le revele
09. La Machine de l'etre: III. entremeles
10. Luonnotar, Op. 70

“A unique artist, uniquely in her element.” Norman Lebrecht, OpenLettersMonthly.com; “A singer of great talent and no mean imagination.” ClassicsToday.com; “Komsi negotiates the shamelessly florid vocal writing with matter-of-fact brilliance, musical good taste and not a hint of self-indulgence.” The Guardian; “Luonnotar is without doubt the musical masterwork here and Anu Komsi's reading of it is alone worth the price of the disc.” MusicWeb International

Coloratura – the colouring of a note, a phrase, an entire aria with trills, ornaments, death-defying leaps and dynamic shadings of infinite variety. For more than two centuries, the art of coloratura was a central aspect of the vocal art, and especially of opera, developed largely by the castrato singers at first, and later by generations of star performers and their vocal coaches.
In the mid-nineteenth century this great tradition was all but broken – neither Wagner nor Verdi were prepared to accommodate it in their different brands of music drama, and as both the opera houses and their orchestras grew larger, a different, heavier and more powerful style of singing was favoured. But the fascination and awe inspired by this almost supernatural phenomenon has never died, among audiences, singers or composers.
Anu Komsi, Finland’s ‘coloratura assoluta’, here presents a selection almost as wide-ranging as her own vocal technique, with mad scenes and rage arias from 18th- and 19th-century operas, Alyabyev’s ever-soaring Nightingale and the silvery tinkling of Lakmé’s Bell Song. Later examples of the lengths a singer may be expected to go to are Glière’s glittering (and strikingly anachronistic) Concerto for coloratura and orchestra from 1943, and La Machine de l’être by the composer John Zorn (b. 1953). Described by Zorn as a monodrama, this 11 minute-long work in three parts received its scenic première in 2011, by Anu Komsi at the New York City Opera. Throughout the programme, Anu Komsi is supported by the Lahti Symphony Orchestra conducted by Sakari Oramo, and in the closing work all involved find themselves on familiar ground in a thoroughly idiomatic performance of Sibelius’ Luonnotar, with its text from the Finnish national epos Kalevala, and a vocal part which is among the most challenging in the literature.

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