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Soile Isokoski's 2002 album of orchestral songs by Richard Strauss marked her as a singer of compact vocal splendor and interpretive spark, and her growing international career in the 2000s indicated that those same qualities were as vivid in live performance as on recording. All of which makes the strange flatness of this Mozart aria collection puzzling. Isokoski has the vocal and musical chops to put a lively stamp on every one of these excerpts, but you'd never know it if this were your only exposure to her work. From a purely vocal standpoint, it's fine -- only the chesty low notes of Fiordiligi's "Come scoglio" seem to push her outside her comfortable envelope. But there is a lack of engagement with the texts and dramatic situations that robs most every selection of its vitality. Peter Schreier's tidy but low-key musical direction could use the occasional shot of Tabasco, but in most cases it's just a case of flat vocal delivery. The above-mentioned "Come scoglio" sounds friendly, even accommodating -- hardly like the defiant rejection it's meant to be. "E susanna non vien!" from the Marriage of Figaro does not sound like the musings of a noblewoman in crisis, forced to accept a servant's help in saving her marriage. Someone vaguely sad, maybe, but certainly not pushed outside the usual social and emotional bounds of her life. "Ruhe sanft," from Zaide, is much more successful, benefitting from the purity and simplicity, not to mention the crystalline upper register, of Isokoski's singing. And the concert aria "Ah, lo previdi" has exactly the engagement with text and drama that the rest of the album is missing; the impassioned first line hooks you right away and the momentum never dies. If only the whole album were so interesting.
© TiVo
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Cosi fan tutte, K. 588 (Wolfgang Amadeus Mozart)
Soile Isokoski, Artist, MainArtist - Wolfgang Amadeus Mozart, Composer - Peter Schreier, Conductor - Tapiola Sinfonietta, Orchestra
(C) 2004 Ondine (P) 2004 Ondine
Soile Isokoski, Artist, MainArtist - Wolfgang Amadeus Mozart, Composer - Peter Schreier, Conductor - Tapiola Sinfonietta, Orchestra
(C) 2004 Ondine (P) 2004 Ondine
Bella mia fiamma, addio, K. 528 (Wolfgang Amadeus Mozart)
Soile Isokoski, Artist, MainArtist - Wolfgang Amadeus Mozart, Composer - Peter Schreier, Conductor - Tapiola Sinfonietta, Orchestra
(C) 2004 Ondine (P) 2004 Ondine
Zaide, K. 344 (Wolfgang Amadeus Mozart)
Soile Isokoski, Artist, MainArtist - Wolfgang Amadeus Mozart, Composer - Peter Schreier, Conductor - Tapiola Sinfonietta, Orchestra
(C) 2004 Ondine (P) 2004 Ondine
Ah, lo previdi, K. 272 (Wolfgang Amadeus Mozart)
Soile Isokoski, Artist, MainArtist - Wolfgang Amadeus Mozart, Composer - Peter Schreier, Conductor - Tapiola Sinfonietta, Orchestra
(C) 2004 Ondine (P) 2004 Ondine
Le nozze di Figaro, K. 492 (Wolfgang Amadeus Mozart)
Soile Isokoski, Artist, MainArtist - Wolfgang Amadeus Mozart, Composer - Peter Schreier, Conductor - Tapiola Sinfonietta, Orchestra
(C) 2004 Ondine (P) 2004 Ondine
Ch'io mi scordi di te ... Non temer, amato bene, K. 505 (Wolfgang Amadeus Mozart)
Soile Isokoski, Artist, MainArtist - Wolfgang Amadeus Mozart, Composer - Peter Schreier, Conductor - Tapiola Sinfonietta, Orchestra - Marita Viitasalo, Artist
(C) 2004 Ondine (P) 2004 Ondine
Album review
Soile Isokoski's 2002 album of orchestral songs by Richard Strauss marked her as a singer of compact vocal splendor and interpretive spark, and her growing international career in the 2000s indicated that those same qualities were as vivid in live performance as on recording. All of which makes the strange flatness of this Mozart aria collection puzzling. Isokoski has the vocal and musical chops to put a lively stamp on every one of these excerpts, but you'd never know it if this were your only exposure to her work. From a purely vocal standpoint, it's fine -- only the chesty low notes of Fiordiligi's "Come scoglio" seem to push her outside her comfortable envelope. But there is a lack of engagement with the texts and dramatic situations that robs most every selection of its vitality. Peter Schreier's tidy but low-key musical direction could use the occasional shot of Tabasco, but in most cases it's just a case of flat vocal delivery. The above-mentioned "Come scoglio" sounds friendly, even accommodating -- hardly like the defiant rejection it's meant to be. "E susanna non vien!" from the Marriage of Figaro does not sound like the musings of a noblewoman in crisis, forced to accept a servant's help in saving her marriage. Someone vaguely sad, maybe, but certainly not pushed outside the usual social and emotional bounds of her life. "Ruhe sanft," from Zaide, is much more successful, benefitting from the purity and simplicity, not to mention the crystalline upper register, of Isokoski's singing. And the concert aria "Ah, lo previdi" has exactly the engagement with text and drama that the rest of the album is missing; the impassioned first line hooks you right away and the momentum never dies. If only the whole album were so interesting.
© TiVo
About the album
- 1 disc(s) - 7 track(s)
- Total length: 01:01:25
- 1 Digital booklet
- Main artists: Soile Isokoski Tapiola Sinfonietta Marita Viitasalo Peter Schreier
- Composer: Wolfgang Amadeus Mozart
- Label: Ondine
- Genre: Classical Vocal Music (Secular and Sacred)
(C) 2004 Ondine (P) 2004 Ondine
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