First of all, in order to enjoy this compilation taken from Chandos’ Opera in English series, you have to be untroubled by the prospect of Italian arias in English translation. If that issue can be put aside, there’s plenty to savor in these performances by the fine British baritone Andrew Shore–and I’ll try not to mention again how awkward some of this sounds and how I’d really rather hear the patter arias and duets by Donizetti and Rossini with their voweled word-endings, which simply are far more mellifluous.
And so: Shore’s Dulcamara is a scoundrel, and he wisely avoids mugging and exaggerating; this character wants to be believed. He’s a fast talker with a certain amount of charm, and his duet with Barry Banks’ dopey, charming Nemorino is a delight. Mary Plazas’ Adina is good too. Don Pasquale is a whole different thing–quite pathetic in the nasty duet with Lynne Dawson’s shrewish Norina, and determined to get even in the great buffo duet with Jason Howard’s Malatesta, though the latter could use more color to his tone. In The Italian Girl in Algiers Shore sings Taddeo, the quasi-jerk who loves Isabella. He’s cowardly and fawning, and Della Jones, caught a bit late in her career, makes a witty Isabella although she sounds like a woman of a certain age rather than half that.
Leporello’s Catalog aria is very fine indeed, and Falstaff’s “Honour” Monolog has great flavor. For the record, Shore sings Bartolo’s aria from Barber of Seville just about better than anyone else I’ve ever heard–but show me someone who doesn’t hate this aria and I’ll show you a person to run from. In short, Shore’s diction is always excellent, his tone dead-center, coloratura in place. Would that he were singing in Italian. (Oops! there I went.) The accompaniments by the orchestras under both David Parry and (in the Verdi) Paul Daniel are superb, and the sound is quite good. If you want it, it’s terrific.
