La pietra del paragone, opera: Act 2. Scene 15. Se l'itale contrade... Se per voi le care io torno, Marcia, Scena ed Aria
Matilde (di) Shabran, opera: Act 2. Scene 3. Sazia tu fossi alfine ... Ah! Perché, perché la morte, Scena e Cavatina
Le siège de Corinthe (The Siege of Corinth), opera: Act 3. Scene 7. L'heure fatale approche ... Juste ciel! Ah! ta clémence, Récitati
Maometto II, opera: Act 2. Scene 3. Non temer: d'un basso affetto, Aria
Bianca e Falliero, opera: Act 1. Scene 5. Se per l'Adria il ferro strinsi, Cavatina
Otello, opera: Act 3. Scene 1. Isaura!... Isaura! ... Assisa a piè d'un salice ... Deh calma, o ciel, nel sonno, R
Matilde (di) Shabran, opera: Act 1. Scene 5. Piange il mio ciglio, Cavatina
Armida, opera: Act 2. Scene 2. D'Amor al dolce impero, Tema con variazioni
Mezzo-soprano Jennifer Larmore lacks Cecilia Bartoli's expansive charm and personal magnetism, but she is more enterprising and versatile, as evidenced by this disc of little-known contralto arias from operas such as La pi... more »etra del paragone, Le siege de Corinthe, Maometto II, Bianca é Falliero and Otello. Though she hasn't the warmest voice in the world, her coloratura technique is cleaner than either Bartoli's or Marilyn Horne's, and she often manages real expressive depth amid the welter of notes. Most of the music is top-drawer Rossini: The compositional devices are recycled endlessly but with a scintillating sense of drama. --David Patrick Stearns« less
Mezzo-soprano Jennifer Larmore lacks Cecilia Bartoli's expansive charm and personal magnetism, but she is more enterprising and versatile, as evidenced by this disc of little-known contralto arias from operas such as La pietra del paragone, Le siege de Corinthe, Maometto II, Bianca é Falliero and Otello. Though she hasn't the warmest voice in the world, her coloratura technique is cleaner than either Bartoli's or Marilyn Horne's, and she often manages real expressive depth amid the welter of notes. Most of the music is top-drawer Rossini: The compositional devices are recycled endlessly but with a scintillating sense of drama. --David Patrick Stearns
"Jennifer Larmore is the epitome of what a mezzo coloratura must be: dark, luscious sound, extraordinary range and perfect technique. This is absolutely the best solo recital of this beautiful singer up to date. Rossini is definitely HER COMPOSER. She sings the eight very difficult arias of this album with energy, lots of expression and a sense of fun. Her use of ornamentation is really an asset (Special mention to Philip Gosset, who provided ornamentation oh his own making). But Larmore's delivery is not mere vocal display: she provides great depth to what she is singing, specially in "Canzone del salice" from "Otello". It is also refreshing to find musical rarities that are first-rate music. The English Chamber Orchestra, under the direction of Giuliano Carella, provides great support to the singer. This is a must have for fans of Larmore, Rossini and the great tradition of bel canto singing."
A fine recital by a wonderful artist
V. Chau | San Diego, CA | 12/03/2003
(5 out of 5 stars)
"On this CD, Jennifer Larmore sings two true female soprano arias, two true female mezzo-soprano arias, and four mezzo-soprano en travesti arias. She has a distinctive, dusky mezzo-soprano voice. Larmore's voice has a wonderful middle register and a strong lower register. On this CD of Rossini arias, she sings cleanly and with emotion. Her singing is not just empty display. She really commits her dramatic intelligence to these wonderful arias. Her coloratura is very good. Some of the florid work she executes is worthy of Marilyn Horne and can be compared with the coloratura of sopranos such as Joan Sutherland and Beverly Sills. I would like to point out some highlights of the disc. Pamyra's Prayer from "Le Siège de Corinthe", sung in French, is a beautiful aria that Larmore executes superbly. In Falliero's cavatina from "Bianca e Falliero", the last section has a march-like melody that rouses Larmore to sing with great passion and spirit. This march-like tune is quite melodious, too. Larmore sounds just like a brave, young warrior who would do anything for his country. The Willow Song from Rossini's "Otello" has a ravishingly beautiful harp introduction. The aria requires some agility, which Larmore has in abundance. Her two trills in this aria, on the word "ruscelletti", as well as her trills in a couple of the other arias, are very good. In "D'amor al dolce impero", she executes the tricky runs very well. However, she slows down the tempo in order to sing the triplet passages accurately. Her high C's in this aria are quite thin. Near the end of the aria, she tries to do a diminuendo on one of her high notes, but the result is not very effective. If you have ever heard Montserrat Caballé's studio recording of this aria, you will be amazed by the diminuendo she does on one of her high notes. She hits the high note forte and then immediately scales back her voice to a tiny pianissimo. The effect is stunning. My only complaint about Larmore's singing is that her Italian diction is not always clear. I am referring to her diction in legato passages, not in florid passages. Throughout, she is supported by the excellent English Chamber Orchestra. The London Voices chorus contributes nicely to the recording. Teldec's sound is very good, definitely demonstration-quality. The booklet supplies useful notes, texts, and translations.This disc comes with my highest recommendation."
Larmore is superb...
Nancy Eckert | Bellefontaine, OH USA | 02/01/1999
(5 out of 5 stars)
"Jennifer Larmore is almost a bridge between Marilyn Horne and Cecilia Bartoli -- Von Stade is simply unique. Larmore's voice is enormously pleasing -- almost the mezzo version of Renee Fleming; and, like Fleming, Larmore gives us a just plain beautiful sound. Add to that considerable technique and musicianship and I have to wonder why she doesn't have a LOT more recordings."
V. Chau | 06/02/2001
(5 out of 5 stars)
"This is an incredible CD which you will love more each time you listen. I first heard track 2 in my car and almost had to pull over. According to the insert, this is the first time this aria from Matilde di Shabran has been recorded. If you like Rossini's Overture to William Tell, (and who does not find that rousing?)check this out. If the last four minutes of Track 2 does not make your heart beat fast and your hair stand on end, check yourself for nerve endings. And the rest of the CD is awesome also. A true find."
Nancy Eckert | 07/22/1999
(5 out of 5 stars)
"Listening to the range of Jeniffer Larmore is so exciting, so stimulating, it makes the hair on the back of my neck stand up on and giving me the chills. No other opera Diva does that. I wish there were clones of Jenniffer Larmore so we could her her in person more often than once every five years. If you have not heard her on a good system, get one right away."