One of the big draws at the Caramoor Festival at Katonah, NY, is the Bel Canto at Caramoor series, which – until now – has presented mostly semi-staged, but highly regarded historically-informed productions of little-known operas from the finest composers of the Bel Canto era. But, as related in Anthony Tommasini’s enthusiastic July 8 review in the New York Times, this year’s outing of Rossini’s rarely heard Ciro in Babilonia marked the festival’s first effort at presenting “something closer to an innovative full production,” done in collaboration with the Rossini Opera Festival in Pesaro, Italy (the composer’s birthplace).
Tommasini noted the production’s “splendid cast that included a couple of breakout performances from rising artists.” But his most effusive praise was reserved for the two lead singers, both cherished Delos recording artists: the “astonishing” Polish contralto Ewa Podleś in the pants role of warrior-hero Ciro, and brilliant American tenor Michael Spyres as the villain Baldassare. Both have blessed Delos and the musical public with standout recordings (see below).
Tommasini gave both singers distinct raves, beginning with Podleś, who “… gave a vocally blazing account of the warrior Ciro (Cyrus), a demanding pants role. She sang with throbbing intensity, agile passagework, plush sound throughout an enormous range, and her distinctive mellow vocal colorings. Outside opera circles Ms. Podleś has never attained the recognition her artistry merits. A towering Rossini singer, she has long had a devoted following …”
As Tommasini goes on to relate, “The biggest single ovation of the night went to the villain, the tenor Michael Spyres, who brought his bright, penetrating voice and brilliant technique to the role of Baldassare. In Act II … Baldassare sings a tormented bel-canto mad scene. Mr. Spyres, ranging from chesty low tones to soaring high notes, gave such a fearless account that he was called back to the stage for a bow.”
While Tommasini had some complaints, none of them concerned vocal performance. I urge you to read his thorough and absorbing review in its entirety, right HERE. Then, once you are convinced of our artists’ magnificence, check out their fabulous recordings on Delos. Podleś has been described elsewhere as a “force of nature,” with a voice of “volcanic” dimensions; if you haven’t heard her singing, trust me: you simply will not believe it until you discover her for yourself. For sheer vocal power, agility and mind-blowing pyrotechnics, she can’t be beat in Handel: Arias from Rinaldo and Orlando (DE 3253). Then, with her singular vocal depth and heartbreaking Slavic pathos, she will devastate you with her renditions of Russian Arias (DE 3298). Michael Spyres – an artist poised on the brink of international superstardom – will just break your heart and make you cry with A Fool For Love (DE 3414), his gut-wrenching recent debut collection of arias by the greatest opera composers – all dealing with the passions and agonies of (what else?) love.
Conductor Constantine Orbelian, who has a particularly sympathetic touch with singers, directs all three albums – working deftly with his two regular orchestras: the Philharmonia of Russia (DE 3298) and the Moscow Chamber Orchestra (DE 3253 & 3414).
I defy you to sample these awe-inspiring albums below, and tell me I’m wrong!
You must be logged in to post a comment.