There ought to be an association for the protection of Natalie Dessay. Music that seems merely virtuosic or (more merely) high when sung by even some of the finest coloraturas ever, becomes meaningful and beautiful when emerging from Dessay’s golden throat and keen mind. On this CD, devoted entirely to Mozart arias, she sings more than an hour’s worth of wickedly difficult music–and not for a moment do we feel as if we’re listening to an automaton, as can so often be the case. These are not stunts; they are expressions by characters in situations–some sad, some mad, some glad.
Opening with the Queen of the Night’s second aria is razzle-dazzle. Composed by Mozart for his sister-in-law, this unleashing of fury is the supreme test of a certain type of agility and ability, and Dessay is flawless, with every one of the “little notes” (even the ones most singers skip–i.e., those leading up to the staccato high Cs) in place and finely turned and tuned. The CD’s second selection keeps her in The Magic Flute but she changes to the role of Pamina, and I doubt we’ll ever hear the aria sung more stunningly, with longing and sadness, a slight pleading emphasis on the second syllable of Tamino’s name, accompanied by exquisite pianissimos and a legato to die for. Similar feeling is expressed in Konstanze’s “Traurigkeit”, perhaps one of the most poignant arias ever penned.
I could continue listing the set’s virtues–the tour de force from Ascanio in Alba, a “Martern aller arten” with tiny embellishments of Dessay’s own choosing (as if the aria weren’t tough enough)–but feel no need to. The accompaniments by the Orchestra of the Age of Enlightenment are first rate (the players embellish occasionally too), and Virgin’s engineers have given us a recording of great warmth–no mean feat when the voice involved tends to sit as high as Dessay’s does. This is a must-have–hands down. [1/20/2002]
