Recitals by lyric sopranos seem to come around on a weekly basis; here is an interesting new spinto who may grow into the Verdi soprano many of us have been waiting for. Azerbaijani Dinara Alieva has a grand sound–rich and full in the middle, and rock-solid, if edgy at the top. The repeated high Cs in “Sempre libera” are exciting and right on the money, and the interpolated E-flat at the end–well, let’s just say that just because a soprano owns a note like that does not mean she has to share it. Her “Ah, fors’e lui” is lovely and is sung with a nice sense of legato; the letter reading before “Addio del passato” is moving without exaggeration. Leonora’s two arias from Trovatore are beautifully handled, with almost pianissimo singing and something like a trill; it is only the scrutiny of a recording that shows up the flaws: some graceless attacks on high notes and occasional lack of breath. “Pace, pace mio Dio” is a gem–it’s rare to hear it so thrillingly performed, with most of the dynamics in place.
Tosca’s big aria is dignified and handsome; “O mio babbino caro”, though well sung and shaded, is too small for Alieva. Doretta’s Song disappoints. Here is an opportunity to caress a vocal line and sing softly, and Alieva rushes it a bit. La Wally’s “Ebben…” has gravitas but doesn’t tear at the heart, and Adriana’s first aria lacks introspection. Under a more sympathetic conductor–the accompaniments stress all of the oom-pah-pah and none of the cantilena–she might even be great. Pay attention to her.
