This is yet another thoroughly welcome installment in Opera Rara’s exploration of salon (for want of a better word) songs from the 19th century. Most of these are duets, half a dozen by Donizetti, all of them delightful. Some are for mezzo and tenor, some for soprano and tenor, some for mezzo and soprano, a couple for two tenors, and every so often a bass voice is thrown into the mix. There are four solos as well. The five voices are unique and blend handsomely: Larmore’s fruity mezzo is dusky at the bottom and bright and aggressive at the top; Ford’s tenor is robust, if a bit drier than previously; Kelly’s tenor is smooth and less distinctive than Ford’s but is agile and appealing; Miles’ bass is authoritative and solid; and Biccirè’s soprano, chock-full of vibrato, has an appeal of its own.
Musical standouts are a trio by Manuel Garcia (Rossini’s first Almaviva and father of Viardot and Malibran) for tenors and mezzo that will remind listeners of “La ci darem la mano”, but quicker and more florid; a duet for Ford and Larmore by Rossini is Spanish flavored and has a witty piano part; a Bolero by Donizetti sung by Larmore is energetic and catchy; Bellini’s “La ricordanza” for soprano uses the melody of “Qui la voce” from Puritani; a drinking song by Donizetti, “I bevatori” for Kelly and Larmore, is both perky and sensual; and Kelly and Miles mingle gracefully in another Donizetti duet, “L’alito di Bice”.
Pianist Antoine Palloc is terrific, whether acting in a more involved Schubertian manner or just as a supporting voice. As suggested, the singers are just right for this material, neither oversinging nor condescending, and while Biccirè and Kelly may not be artists of the caliber of the other three (he veers from pitch; her sound is sometimes too wiry), this is still a delight. It may be light stuff, but it will grace your parlor for more than an hour while leaving no room for boredom.