Those who are familiar only with the work of dramatic soprano Gwyneth Jones from the mid-1970s onward owe it to themselves to hear this CD, originally an LP she recorded in 1966. By the ’70s Jones had developed a severe wobble and her pitch could be suspect; as the years progressed both of these flaws became worse. And since the ’80s, there have been times when she has been really difficult to listen to. But she always has been a vibrant vocal actress (and a stunning woman, which helped on stage) with musical intelligence and insights into the characters she portrays. This CD is so spectacular, in every way, that it can make you forget about any of Jones’ later vocal problems.
All of the music here is challenging, and she sails through it with grace, ease, and beautiful tone. Her “Abscheulisher” is womanly and firm, with the runs and top notes in place and the registers perfectly matched. Medea’s “De tuoi figli” may not have the pathos and manipulative power of Callas, but it is just about perfectly sung. Similarly, “Senta’s Ballad”, always a test of a soprano’s sense of pitch, here holds no fears, and Jones alternates nicely between the extroverted and quieter passages, all in rock-solid voice. Beethoven’s “Ah! Perfido” is well-handled, with its mood-swings choreographed and every note cleanly articulated.
Since Jones was known mostly for her German-language roles (and Turandot), the two Verdi arias will come as a great surprise. One of her early-ish successes was in Trovatore at Covent Garden in 1964, and the fourth-act aria, as sung here, makes it clear why: the legato is exquisite, the phrasing is elegant, and the soft, high B-flats are Milanov-worthy. And “Pace, pace…” makes you wish there were a complete Forza with her somewhere. This CD is a brief 48 minutes of great singing by an artist in the grand tradition who was all too frequently caught on recordings after her prime.
