Vivica Genaux’s voice is not the grand, cushioned instrument Marilyn Horne’s was; neither does she have the girlish allure of Teresa Berganza. Her sound is not booming–rather, it is somewhat opaque, definitely appealing, and androgynous. She uses it skillfully: her coloratura is clean and accurate; her use of dark chest voice is limited to correct dramatic moments; the top (to a B-natural) is clear and bright (but still mezzo-like); and her upward and downward scales never miss a note. Here, she takes on familiar turf (mostly), and in comparisons with the two great coloratura mezzos named above, she comes out very well.
She embellishes even the opening verse of Cenerentola’s final aria, but the embellishments–here and throughout the CD–are tasteful. They are also often new to these works, presumably composed specifically for her (but by whom, the accompanying notes do not tell us). She’s warm and understanding in the first part of Cenerentola’s aria and shows her virtuosity in the cabaletta. In the L’Italiana selections she captures Isabella’s character–the melodrama of “Cruda sorte” and the attitude of “Pensa alla patria”–and her sense of humor is evident.
As Orsini in Borgia she’s nice and dark in the early warning, and her “Segreto” also has a forced joy to it–very apt (and nicely decorated). As the King in Alahor in Granata she’s authoritative, and as poor Smeton in Bolena, she does what she can with a dull character and a not-great aria. She’s loving as Malcolm in Donna del lago, with plenty of fireworks later on, and Arsace’s big scene from Semiramide, while not erasing memories of Horne, is excellent. The CD closes with Rosina’s familiar “Una voce poco fa”, impeccably sung and decorated. If Genaux has flaws, they are a tendency to understatement and a refusal to let loose; but these are traits others might see as virtues. She’s a classy singer, and this CD is wonderful.
