It’s not often that you find a disc whose liner notes speak of today’s world as a “desacralized cosmos”, increasingly standardized and artificial, its people living in an “era of globalization and growing critical conflict between man and machine”, with technological ideology increasingly governing our relationships with ourselves, our neighbors, and nature. Against these trends, argues the note-writer, sacred songs provide inspiration for “contemplation of that which is true, eternal.” Wow. That’s a pretty heavy set-up for what looks like just another recital of spiritual hits by one of today’s favored opera sopranos. Well, actually this is an uncompromisingly serious, if at times lavishly scored concert that’s high on sincerity, strongly focused on big, broad, powerful vocalism, and unafraid to dip deeply into the “molto espressivo” interpretive well. The fact is, these songs all have special meaning for singer Angela Gheorghiu, beginning with four works by Romanian composers (among several fine orchestrations on the program by Chris Hazell), and ending with Schubert’s Ave Maria and a rousing rendition of Adeste, fideles (with chorus and orchestra).
Fans of Gheorghiu will love her heartfelt, overt expressive style and rich, dark-toned vocal quality in these pieces–and most of them hold up well or even easily lend themselves to this treatment. However, I was less impressed by her excessive mannerisms (particularly scoops and slides) and also was surprised at her tired, strained effort on several tracks (she just doesn’t sound like she’s having an easy time with Fauré’s Pie Jesu; and she seems stylistically baffled by the Quia respexit from Bach’s Magnificat). Nevertheless, there’s some really gorgeous singing here, and although this isn’t presented in any obvious way as a Christmas disc, its repertoire certainly has all the qualifications. Those opening Romanian songs, two of which feature the excellent Romanian National Chamber Choir “Madrigal”, are lovely, full of atmosphere and interesting blends of folk and Eastern church styles. In addition to those pieces, Gheorghiu is best in the Puccini (Salve regina), Mascagni (Ave Maria), and Mendelssohn (Auf Flügeln des Gesanges) selections, and her enthusiasm in the fabulously grand Adeste, fideles finale is infectious. The whole thing is couched in sound that gives prominence to the solo voice and keeps the orchestra and chorus at a distance.
