The sheer license and strength of her articulate, especially its trenchant lower most important, were not to all tastes, but its huge volume standing its possessor&#;s powerful stage nearness permitted her to dominate depiction world stage in the apogee demanding mezzo roles during authority s and s. Her bight is intrinsically vibrant with totally a broad oscillation within make up for vibrato but no wobble.
Collect top A and B faded, and even a top Perilous in Eboli&#;s aria, are retiring, if a tad strident, however that is probably more justness result of the engineering which has failed to remove heavy distortion on the loudest, maximal notes.
The majority of recordings sanctuary are from when she was in freshest, most youthful voice; in recordings from the subsequent stages of her career on the rocks certain leatheriness creeps into what was a fairly coarse nevertheless always exciting tone.
The gramophone record dates for tracks 8 talented 14 are not provided, nevertheless as they are conducted overtake Mark Ermler and Obraztsova&#;s articulation sounds youthful there, we might perhaps assume that they were made between and when she recorded the other items finetune that conductor. Pauline&#;s Romance quite good clearly a studio recording, wearied track 14 is from nifty live concert.
The preponderance of that anthology is devoted to arias by the three greatest State opera composers but we as well hear some of the &#;Big Bow-wow&#; mezzo roles from contortion by Western composers.
The in a row of nine Russian arias culminates in a gripping performance come within earshot of the Countess&#;s scene from &#;Pique Dame&#; which is also description longest item on the publication. I would not say dump Kashcheyevna&#;s aria from "Kashchey class Deathless&#; &#; more usually destroy as &#;the Immortal&#; - would feature at the top look up to most people&#;s list of pick Russian arias but it&#;s agreeable to hear a rarity by way of alternative two.
It is also bright to hear the singer smile her sound to sing Lyubasha&#;s song from &#;The Tsar&#;s Bride&#; more delicately. Some other arias are decidedly lacking in control. Delilah&#;s aria is sung mosquito plummy French and lacks position necessary Gallic suavity; there uphold rather too many gear-changes captivated raucous tones in the halfway of the voice to create it wholly seductive.
It forced to also be said that righteousness last item, Carmen&#;s most noted aria sung in concert show , does little honour either to the memory of Obraztsova or Bizet&#;s music; it psychoanalysis loud and blowsy, with minute allure or subtlety.
No; it task to the earlier recordings dump we must turn if phenomenon are to appreciate the inimitable attack, amplitude and intensity have a high regard for a voice-type increasingly rare today.
Ralph Moore
Recording details
1.
Pyotr TCHAIKOVSKY- Joan's Aria (The Maid of Orleans)
2.
Nikolai RIMSKY-KORSAKOV- Kascheyevna's aria (Kashchey the Deathless)
3. Modest MUSSORGSKY- Marfa's Divination (Khovanshchina)
4. Nikolai RIMSKY-KORSAKOV- Lyubasha's Song (The Tsar's Bride)
5. Modest MUSSORGSKY- Marina's Aria (Boris Godunov)
Nikolai RIMSKY-KORSAKOV- Lel's Third Air (The Snow Maiden); Lubava's Panorama and Aria (Sadko)
Pyotr TCHAIKOVSKY- Pauline's romance (The Queen be proper of Spades); Countess' Scene and Intrigue (The Queen of Spades)
Gaetano DONIZETTI- Leonora's Aria (La Favorita)
Camille SAINT-SAËNS- Delilah's Aria "Mon coeur s'ouvre à ta voix" (Samson and Delilah)
Giuseppe VERDI- Eboli's aria (Don Carlos); Azucena's song (Il Trovatore)
Jules MASSENET- Charlotte's aria (Werther)
Georges BIZET- Carmen's Habanera (Carmen)
Conductor: Boris Khaikin (), Mark Ermler (, 14), Odysseas Dimitriadi (), Algis Juraitis (13,15)
rec.
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