It’s rare that sopranos with very slim voices carry real emotional weight, but Natalie Dessay is one that does. Here she sings pretty standard coloratura/bel canto repertoire, with the only vaguely non-repertoire piece being Maria Stuarda’s opening aria and cabaletta. You may doubt that the remainder of that opera would suit her; it requires big exclamatory passages and very strong mid and low notes. But she sings the scene recorded here–which is more inward and tender–with great beauty and poise.
Also, her Violetta would likely be less effective in the opera’s latter acts, but “Ah! fors’ e lui” is delivered deliberately, dreamily, and with proper emphasis and lovely tone; and “Sempre libera”, in addition to the fireworks we expect and get, is a true dramatic turn. Giulietta’s big scene is simply ravishing, the long Bellinian lines spun elegantly and with the right girlish sound. Gilda, about the same age as Giulietta, we presume, has the same tone but Dessay makes her less certain of love by being very faithful to Verdi’s markings–her little breaths are very effective.
The long Puritani scene is splendid and she makes it her own; unlike some of the canaries of yore (Hempel? Tetrazzini?) she phrases and decorates to suit the drama rather than to show off her skills. And in the early part of the scene she adds weight–and therefore sadness–to her tone. I found her complete recording of Sonnambula wanting in feeling and originality (with the same conductor); perhaps Elvira suits her better. Lucia’s Mad Scene is similarly terrific–she is very much in the character and sings with great “face”.
There’s a bonus DVD that is a knockout: Dessay live on the Met’s stage, opening night of the 2007-2008 season, performing the Mad Scene. It’s riveting–and worth the price of this set all by itself. In brief, Dessay is a high coloratura who manages never to be boring and never to sound as if she’s learned a role by rote. This CD and DVD offer great pleasure. [3/14/2008]
