The New York Times (indeed the music loving public of New York) may said to be fashionably late. Hallenberg's searching, virtuosic recital discs, full of fresh, seldom-heard repertoire and astounding takes on classic Handelian test pieces are well known to those with an ear to the world of 18th century opera. Where on earth have you all been?
4
This is a beautifully written article and, for me, introduction to an astounding voice and compelling artist. I especially appreciated the attachments.
This article is a work of art on its own. Thank you.
11
You wrote, “In 2003, she replaced Cecilia Bartoli at the Zurich Opera on just one day’s notice as Bellezza in Handel’s “‘Il Trionfo del Tempo e del Disignanno.’”
Are you sure the role she sang wasn't Piacere, not Bellezza (which is the soprano role)? I first heard Ms. Hallenberg’s gorgeous voice on Emmanuelle Haïm's 2007 recording of that oratorio. Her duet with the equally amazing Natalie Dessay, “Il voler nel fior degl'anni,” is nothing short of sublime. That remains one of my favorite classical music CDs ever.
2
You're right that I had never heard of her. I'm certainly glad that I have now!
3
Dear Headline Writer:
Is This the Best Opera Singer You’ve (Probably) Never Heard Of?
Thank you.
The qualifier "probably" is a refreshing change from the too frequent headlines that address a collective You that does not exist.
3
Because of this article, I'm now listening (via Amazon Prime Music) to “Carnevale 1729." It an astonishing accomplishment, highly recommend.
4
Let us do a nationwide search for the greatest American mezzos, singers, and present them in New York concerts. Or can New York accept that it has not been the cultural capital of the USA for a long time now?
2
@Plank: Why, do you think Philly is?
1
@Plank Writing as an outsider who has made many, many visits to the USA for both business and pleasure, to my mind New York City is not just the cultural capital of the USA, but of the world. No other city can offer the range, vibrancy and quality of cultural experiences in both the performing and the visual arts.
5
@Peter NYC may indeed be the cultural capital of the USA, true. But of the world? Categorically untrue. Ever been to Vienna, Munich or Berlin? On any given night, any of those cities sweep NYC under the rug, culturally speaking.
10
Will Americans ever accept that there are great (perhaps greater) singers that are not contracted by the Met.
20
@Georges Short answer: probably not. We are crippled by the size of our opera houses. Some voices can achieve great artistry in those house sizes, but many more can not. We suffer from gigantism in voices as well as in other areas here in the US.
20
@LS It is not just the size of the MET, as you rightly say, that reduces the number of singers who can successfully project in that hall, but more so, the behind-the-scenes deals of powerful agents and opera casting directors who decide who will sing and who will not. There are many prominent singers who are never invited to the MET and are much better singers than many who do get to sing here. I am not saying this is the case with Ms. Hallenberg, but it certainly is with other singers of the non-baroque repertoire.
17
@Georges --- the American music-loving public, yes; the New York Times, no. Or only rarely (and gradually).
I still remember reading a review of the late Salvatore Licitra's Met debut in Trovatore: the reviewer (Tommasini? I don't remember) seemed to think this was his big break and now he was going to become a star. He didn't seem to be aware of Licitra's very high-profile recording of the opera with Riccardo Muti and La Scala.
2
What a wonderful piece on the extraordinary mezzo soprano, Ann Hallenberg. Those of us who have heard her recordings know that we are in the presence of a true artist. Thank you, Mr. Corwin for attaching a rich array of arias that she sings. I think we are lucky to be living in these times when there are so many celebrated baroque soloists. The Metropolitan Opera’s presentation of Handel’s Aggripina featured another superb mezzo, specializing in this repertoire - Joyce di Donato. And let’s not forget Miss Bartoli, whose recordings and appearances are always highly anticipated by the music world at large. There is always talk about the Golden Age of Singing. Well, it’s here.
27