Search - Vincenzo Bellini, Gaetano Donizetti, Giacomo Puccini :: Luba Orgonasova - Favourite Soprano Arias

Not since Sutherland...

Pococat | Baltimore. MD USA | 03/05/2005

(5 out of 5 stars)

"The bel canto selections on this recording are absolutely magnificent. She maintains color and consistency throughout her entire range. She has absolutely impeccable intonation. Truly, this music hasn't been sung this well since the days of Joan Sutherland. And truth be told, the legato sections of these famous arias are even better than Sutherland (is that haresy?!) I love Dame Joan, don't get me wrong! And what is even more remarkable is that Ms. Organasova sings just as masterfully in the Puccini arias. Brava, and lets hear more from this magnificent soprano!"

Brilliance and conviction

Helen Loycker | 12/18/2005

(5 out of 5 stars)

"Orgonasova has a Slavic voice of astonishing brilliance and also the fullness to do lyric parts like Liu in Turandot. Her diction is much clearer than Renee Fleming's for example and her trill also is way better than anyone's I have heard recently. She is as touching and vulnerable Amina, an intense Lucia di Lammermoor and a breathtaking and tearjerking Liu. This soprano has everything a full lyric with agilita needs except better PR. She is already better than Fleming & Swenson put together."

Good singing

Steven A. Peterson | Hershey, PA (Born in Kewanee, IL) | 02/23/2007

(4 out of 5 stars)

"Luba Orgonasova's "Favorite Soprano Arias" is an interesting CD. She ranges from familiar coloratura territory (Bellini and Donizetti) to verismo (Puccini). Her voice is heavier and darker than many who essay the coloratura corpus, but this does add a rich texture to her singing. Some of the singing is ravishing; there are other times when things fall a bit short. But, overall, a good CD.



The CD begins with the great Cantabile-Cabaletta from Bellini's "I Puritani"--"Qui la voce. . . Vien diletto." Immediately, we become aware of her heavier darker voice. The pace begins slowly. Her line is smooth, but there is some harshness in her voice early on. "Vien diletto" demonstrates her agility. There is, in this cut, a certain hard edge to her higher notes. In the repeat, she hits the notes cleanly. There is not much in the way of trills, but the final high note is fine.



From a very different type of work, Puccini's "Turandot," she sings "Signore, ascolta." Her voice seems to fit this work very well. One might, to compare very different voices, listen to Anna Moffo's version. Orgonasova's characterization appears nicely done. She demonstrates a smooth line. She floats a nice set of notes at the conclusion of the piece.



From Donizetti's "Linda di Chamonix," Orgonasova sings "O luce di quest' anima." Her voice is smooth in the opening segment. When she ups the volume for some high notes, there appears some harshness of tone. In the cabaletta, she shows an agile voice. She also demonstrates good appoggiaturas. Her trills? They range from indifferent to awfully good! The repeat of the cabaletta demonstrates good coloratura technique. The final runs are fine and the finale is very well done indeed.



Donizetti's "Lucia di Lammermoor" features one of the gold standards of coloratura singing--"The Mad Scene." She shows off smooth singing in "Il dolce suono." Her heavier voice works pretty well here. The "il fantasma" sequence is dramatically rendered. All in all, nicely done. "Ardon gl'incensi" is smoothly sung. The florid singing is also competently done. Trills are indifferent in this portion of the "Mad Scene"; there is a good high note to finish off this sequence. And, of course, there is "Spargi d'amaro pianto." The first "go through"" is fine and the musicality is good. There are some decent trills. In the repeat, she increases the "floridity" quotient (if there is such a term), but it is not at the same level as a Sutherland or Sills. There is a very well done trill off of a high note late in the repeat. The final note is fine, but she appears to "scoop" a bit.



All in all, a good performance. While there are some problems (some harsh high notes and a trill that varies from mediocre to very good), her rich, dark voice animates the material on this CD. For those interested in good sopranos of the past quarter century, this is worth adding to one's musical library.

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