Thirty-four year old Georgian mezzo Anita Rachvelishvili may just grow into the dramatic mezzo that has been wanting since Fedora Barbieri, Giulietta Simionato, and Fiorenza Cossotto retired. The mantle has been, somewhat uncomfortably, on the shoulders of Dolora Zajick, she of the huge, booming voice that fills the Met and so many other houses. When Rachvelishvili was 25 and studying at the La Scala Academy she auditioned for the role of Mercedes in Carmen; Daniel Barenboim was so impressed that he invited her to understudy the title role, which she wound up singing on opening night.
The voice itself has a less aggressive (for want of a better word) sound than say, Zajick’s or Cossotto’s, and, in fact, in addition to the ability to produce grand volume and grand statements, Ms Rachvelishvili can sing with sensitivity and great beauty at all dynamic ranges.
She also has a star’s charisma. Her singing can be subtle and sensual. Her “Seguidilla” is not hip-swinging; it is understated and sung, clearly, to Don José alone, almost as a warning. Her “Printemps qui commence” is a similarly graceful performance, almost feathery at times. “Mon coeur s’ouvre a ta voix” needs a more sensual – even visual – accompaniment: conductor Giacomo Sagrpanti here, and elsewhere, can be a bit literal. I can recall versions of this aria where one can almost see the palm trees swaying and feel the breeze.
The “Condotta” starts out as a sane narrative – measured – and grows more manic and desperate as it goes on and builds to a rousing, tormented climax. And it is never yelled. Eboli’s Veil Song is mostly lovely and lyrical with just a few awkward moments, but “O don fatale” is on fire, a rousing, solid reading. Lyubasha’s sad a capella song from Rimsky’s “The Tsar’s Bride” is hypnotically lovely, sung at a near whisper and with ravishing legato. Santuzza’s “Voi lo sapete” is fine but lacks desperation – here again, the accompaniment lacks drama and there is no orchestral coda – it just ends. Tacky. Sapho’s aria is the real thing (although memories of Shirely Verrett’s rendition on an old RCA recording are not erased).
Many Eastern bloc singers have an edge to their voices that can be both exciting and harsh. Rachvelishvili’s tone is smooth and grand. Watch her career carefully and enjoy this CD.
