A second Fanfare critic has added our new recording of Bellini’s I Puritani to their “Not to be missed” list:
“From Delos comes an impressive new studio release of Bellini’s final opera, I puritani, recorded at the Kaunas Philharmonic. …Lawrence Brownlee is one of the finest bel canto tenors of his generation. And, among tenors who have participated in complete commercial recordings of I puritani, Brownlee’s may well be the most accomplished overall assumption of the beautiful and extremely challenging role of Arturo.… I think it is Brownlee who best encompasses all of the qualities demanded by a role Bellini composed for the legendary Giovanni Battista Rubini. Brownlee possesses a gorgeous lyric voice, warm in tone, that features a quick, focused vibrato reminiscent of Italian tenors of an earlier age. Brownlee’s mastery of the upper register is spectacular. The American tenor sings the role’s D♭s and F above high C with a stunning ease of production. … Lawrence Brownlee’s Arturo is far more than a brilliant display of high notes. He phrases Bellini’s cantilena with unerring mastery, conjuring a beguiling light and shade via his arsenal of vocal colors and bewitching application of rubato. … Brownlee’s Arturo is bel canto singing of the highest order, and a golden age performance. Brownlee’s contribution alone makes the Delos I puritani essential listening. But the role of Elvira is impressively cast as well. Soprano Sarah Coburn is as vocally satisfying as her tenor counterpart. … Coburn’s tone is unfailingly lovely, and her mastery of coloratura and stratospheric high notes is never in doubt. … Colburn succeeds on her own terms in portraying both Elvira’s ardent love for Arturo, and her emotional fragility. These qualities make Coburn’s marvelously sung rendition of Elvira’s act II mad scene (including scintillating ornamentation in the reprise of “Vien, diletto”) all the more affecting. This is a most impressive assumption of one of the great soprano bel canto roles. … In previous Fanfare reviews of various opera recital recordings, I’ve admired the work of conductor Constantine Orbelian. It is clear that Orbelian is a conductor who collaborates well with singers, one who shapes the music in a manner that best displays the talents of the individual vocalist. That simpatico approach is evident in this I puritani as well. In addition, Orbelian elicits disciplined execution from all his forces, and gives the music a welcome momentum, without ever rushing matters. … The recorded sound is excellent, providing a superb balance between the stage and orchestra pit, and a rich, colorful, and detailed acoustic. In addition to Koob’s essay, Delos gives us a detailed plot synopsis and a full Italian libretto with English translation. … I’m grateful we now have the Delos recording to earn its place alongside distinguished predecessors. Highly recommended.”
—Ken Meltzer, Fanfare