Search - Ewa Podles :: Ewa Podles - Handel Arias from Rinaldo & Orlando

Heroic singing of the highest order...almost.

Daniel A. Swick | Saranac Lake, NY United States | 03/13/2001

(4 out of 5 stars)

"Ewa Podles is fast emerging as something of a cult figure in the opera world. Her voice is a mega watt, knock your socks out, gasp inducing contralto that ranges from soprano heights to baritonal lows. There is nothing at all picky (aka "early music") about her singing of these fiendishly difficult arias from two of Handel's greatest operas, she just SINGS them more thrillingly than any other singer on disc. The heroic bravura arias are jaw - droppingly good -- the coloratura spot on, the dips into molten chest register thrilling. Her ornamenatation is wildly inventive and tossed off with daredevil panache (check out the chest voice G at the end of "Venti turbini" -- it may not be "correct" but it sure is exciting!). The reason for the 4 stars as opposed to 5 has to do with the singing of "cara sposa". This lament aria is one of Handels most striking and yet Podles, with her decidedly cupo sound, hasn't the vocal clarity to make it work like it should -- the only blip on an otherwise stellar disc. Final note: Podles sang Rinaldo in the concert performances with Christopher Hogwood and Cecilia Bartoli but was replaced by countertenor David Daniels for some of the performances. He ultimately was offered the chance to record it over Podles. Could this disc having something of a vendetta about it? If so, it works."

She's no Fifi.

Candace | Los Angeles, CA USA | 05/18/2001

(4 out of 5 stars)

"After that inevitable double-take at the first sight of her name, your ears will do a double-take at the sound of her voice, if ears can do such a thing. This is a grand contralto voice, a range not often heard and one that takes some getting used to. The first track, "venti turbini" is something else, and you'll probably play it over several times to make sure of what you've heard. On first listen, the rest of the CD is not as eye-popping as that first cut and in fact takes a little while to fully appreciate.Hearing a real contralto is as disconcerting as hearing a countertenor for the first time. Podles' range is huge and her ornamentation is daring and intelligent. Her low notes are enough to make you drive off the road. But the middle range has a fuzziness to it that may be something intrinsic to the contralto range or simply part of her voice, I'm not sure.This is where I would have liked more informative liner notes with the CD. I wanted to know more about the contralto voice and why it is so rare, and more about Podles besides all the roles she's sung. I was interested to see fellow-reviewer Daniel Swick's comment on the replacement of Ms. Podles with David Daniels in the concert performance of "Rinaldo" and ultimately on the recording. It is hard to imagine two more different artists, and it would be like replacing a clap of thunder with a ray of sunshine. This is an exciting recording that may take some time to warm up to because Podles' sound is so unexpected. Just let it roll and listen. There are both thrills and beauty here."

From the San Francisco Chronicle

Candace | 10/15/2001

(5 out of 5 stars)

"Alan Ullrich of the San Francisco Chronicle (10-17-01): Classic. Ewa Podles' Oct. 21 Hertz Hall recital should be one of the prime vocal attractions of the fall season. The Polish artist is that extremely rare phenomenon -- a genuine contralto of luxuriant tone and bottomless resources. Yet this is not one of those British "Land of Hope and Glory" oratorio-type voices but a true bel canto expert. It's hard even to imagine a voice of this weight scaling the heights and depth of Handel and Rossini coloratura with such nonchalance... Los Angeles-based Delos is focusing on Eastern European singers these days, with fascinating results. The company taped the Handel program at Skywalker Sound last year, concurrent with the Opera House recital given by these musicians. Every cut -- 18 in all -- testifies to Podles' incredible agility, seamless breath control and almost terrifying authority. She's the best reason for not casting these title parts with countertenors."