Here we go again. Some time ago I reviewed a CD of this soprano singing Italian arias (type Q4881 in Search Reviews), and while impressed with her voice, I was close to horrified by her lack of interest in the characters and texts. (The orchestra was lousy and routinely led as well.) Because her technique was so fine, the voice so beautiful, the notes so perfectly in place, I felt guilty about my assessment, and when she replaced Renée Fleming as Imogene in Il Pirata at the Met this last season, not only did I scramble for tickets, but I was probably the only person in New York who was pleased about Fleming’s cancellation. That night I thought that she sang wonderfully–but again, I was hardly moved by her “interpretation”. Yet, in that role it’s hard to tell–and on such short notice shouldn’t we be grateful for such excellent singing, comportment, and professionalism?
Now comes this CD of Mozart arias–both of the Countess’, both of Donna Anna’s (with the recitative before “Or sai chi…” eliminated), Donna Elvira’s “In quail eccesi…Mi tradi”, Pamina’s, all three of Konstanze’s, plus “Vorrei spiegarvi, O Dio” and Exsultate jubilate. I’m pleased to report that Makarina’s singing has gotten even better; the voice is more rounded, the range utterly even, the high notes (even the “E”s in “Vorrei spiegarvi”) in place and appealing, the coloratura impeccable. And in Mozart, in many ways, just obeying dynamic markings and singing precisely what’s written is almost enough to create a character. Almost. But Makarina’s still not trying very hard. Excerpts from an essay originally published in 1923 by Herman Klein that appear in the booklet contain the words “Many singers today fail, if for no other reason, to do justice to Mozart because they approach his music without the necessary warmth or intensity of feeling. They think it suffices to sing him calmly and prettily.” Odd that this should be both the gist of the article and the gist of Makarina’s problem.
Enough, though: this is very beautiful singing, and she’s certainly no duller than late Kathleen Battle or most Kiri Te Kanawa, also possessors of gorgeous voices and a certain sameness of delivery. Wanna hear Mozart sung gorgeously? Here it is! But don’t expect to feel for Pamina’s or the Countess’ plight. The accompaniments, by the way, are excellent, and so is the sound. You be the judge, but to my ears, Makarina could be one of the great sopranos in the world, if only she would start to think her way through the music and into the text.
