Terry Serres | Minneapolis, MN United States | 01/21/2009
(5 out of 5 stars)
"I am never sure what to expect when approaching a performance by Patricia Petibon. Her idiosyncratic persona and adventurous choices in repertory mean that she will remain an interesting artist. In some of her characterizations, though, chirpy and coy vocal affectations have got in the way of my enjoyment. I am happy to report, however, that _Amoureuses_ is a marvelously assured and satisfying release. It is distinguished by technical elegance and virtuosity, yes, but also by effective communication. It is always refreshing to hear coloratura used not merely for pyrotechnical flourishes but for nuanced expressive ends. Petibon's voice seems to possess more heft and depth than I am accustomed to hearing from her.
I found the program to be nicely varied in mood and familiarity, even within the romantic theme. Mozart, Haydn and Gluck make a good triumvirate, even if (to my tastes) Gluck always winds up sounding bland and second-rate next to the others. Haydn's operas aren't well known, more often heard in excerpt than in their entirety. Thus, I don't know how they play on stage, but the numbers presented here are spectacular - with insightful harmonies, rich sonorities, and evocative interplay between orchestra and voice. His use of horns in the selection from _Orfeo ed Euridice_ was especially arresting. The one novelty number, a Turkish-infused quasi-vocalise from _Lo speziale_, was so sinuously beguiling that it was not out of place in the program.
"Vorrei spiegarvi, oh Dio!" which Mozart wrote for inclusion in another composer's opera, was ineffably beautiful, passionate yet endowed with a sure expressive touch. There is something miraculous about this performance, perhaps the disk's standout. Her performance of the Queen of the Night's Revenge Aria is one of the most impressive since the heyday of Lucia Popp. It is memorable for how Petibon relishes the words and for her assuredness (here as elsewhere) in the upper reaches of the voice. Harding and the Köln forces adeptly pace and punctuate the singer's fury. I had an image while listening to this of the orchestral sound enshrouding the Queen in darkly flashing clouds, the performance was that vivid.
Petibon chooses one of Susanna's less overdone arias ("Deh vieni, non tardar") and sings it with utter conviction, segueing nicely from Barbarina's cavatina in the same act. It is only in an aria from Lucio Silla that she runs into what sounds to me like a ragged, tonally insecure patch (in the da capo of "Ah! se il crudel periglio"). "Tiger! Wetze nur die Klauen" from _Zaide_ was terrifically exciting and vividly characterized. But, given that some of the most extraordinary moments on this disk are from contemplative arias requiring supple coloratura, I wished Petibon had also included "Ruhe sanft" from the same work.
All in all, I was less enthralled by the Gluck. A slightly more incisive approach (à la Gens or Callas) might have sold these selections better, but they are nicely expressive in phrasing and articulation. I simply happen to be less in sympathy with this composer and his settings.
Again, I enjoyed the orchestral playing immensely. The interpretations were not obvious but not contrary, either, the way Harnoncourt can be. Harding and Petibon were remarkably responsive to each other. For a recital of this genre, I recommend this disk without reservation.
"
A stylish mini-diva who can strike sparks dramatically
Santa Fe Listener | Santa Fe, NM USA | 05/28/2009
(3 out of 5 stars)
"The major record labels are going through a promotional stint on behalf of young or youngish singers they hope to turn into tomorrow's stars. It worked with Netrebko and Villazon; maybe it will work with Kate Royal and Jonas Kaufmann -- who knows? Does a 39-year-old French coloratura have a shot, given her previous guise as an operatic wild child of the Baroque, her hair as red as ketchup and her eyes flashing like a Medusa?
Although Patricia Petibon has moved into mainstream operas like Rosenkavalier and Tales of Hoffmann, here she sticks to familiar territory, adding rarely heard Haydn and Gluck arias to more familiar Mozart. She is backed by a top-flight musician in Daniel Harding, so the stage is sumptuously set. How does she fare? Well, the voice sounds small, accurate, fairly even (a bit squawky on top), and dramatically convincing. Petibon's shining asset is that she can spin an hypnotic melodic line, holding your attention even when technical demands bring her to the brink. She also dives into the Queen of the Night's aria like a witchy villainess, the modern way. Yet I don't hear anything on the order of Lucia Popp, Rita Streich, or Wilma Lipp in terms of major talent, just to name three major Mozart coloraturas.
For the past twenty years, given an absence of big young voices, singers of Mozart have become small-scaled. It works on recordings at least, taking a Susannah and turning her into a Countess or even a Donna Anna. Petibon must be a beguiling stage presence. She's striking visually and has good theatrical instincts. So all in all, this musically varied CD was a good listen, all the more because of Harding's sympathy for a mini-diva in the making who can strike sparks quite often."
Patricia Petibon is tres bon.
James G. Eitel | Glassboro, NJ USA | 06/05/2009
(5 out of 5 stars)
"Petibon is incredible! Beautiful line, approaches, technique and above all, a delicious sound. Mozart never sounded so good."
Do not look further...
Paulino Partida | Guadalajara, Mexico | 04/06/2009
(5 out of 5 stars)
"...since the first track is superb. Haydn's Raggion dell'alma siede is astonishing. But when you listen to Mozart's Vorrei spiegarvi, o Dìo, there's no need to look further. She is THE SOPRANO IN CHARGE. Get this recording. No regrets at all."
