10 of 10 people found the following review helpful
5.0 out of 5 stars
Ravishingly Good!, Dec 7 2010
By Customer Formerly Known as Giordano Bruno - Published on Amazon.com
This review is from: Colori D'amore (Audio CD)
Perfect breath control, perfect pitch control, pitch-perfect affect, an absolute model performance of baroque arias by Alessandro Scarlatti, Bonocini, Caldara, and Broschi, chosen from operas that are tragically unlikely to be produced anywhere near you anytime soon. There's been a glorious abundance of 'recital' CDs by sopranos and altos who have mastered the special vocal techniques for singing 17th and 18th C arias; I'll list some of my favorites in the first comment below. This recording - Colori d'Amore - Colors of Love - may well be the best. And I may need to endow a Prize to back up my opinion. It's appreciably better than Kermes's 2007 recording of Vivaldi motets with the Venice Baroque Orchestra. It seems worthy of being a career pinnacle for this established star of the opera stage.
It's so good that it has compelled me to rethink my enthusiasm for the rising young star Danielle de Niese, whose Handel CD i reviewed and defended recently. Kermes's vocal technique on this CD makes de Niese sound like a beginner. In fact, Simone Kermes is the Singer that Danielle de Niese should aspire to become. If I had her ear, I'd urge Danielle to grasp Simone by the knees and beg for lessons. Kermes, by the way, studied with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. There's no shame in studying with the greatest.
One of the most appealing selections on this CD is Bonocini's setting of "ombra mai fu" from the opera Serse. Wait, you thought Serse was by Handel? Well, yes it was, but libretti were often set by more than one composer in the baroque era. Bononcini's 'ombra mai fu' has the same sweet delicacy as Handel's, though the melody is quite different. Kermes's interpretation is as suave as velvet, yet she can also blazon as brassily as the obbligato trumpets on Scarlatti's coloratura aria "ondeggiante agitato." These arias truly do come in all the 'colors' - all the timbres - of baroque passion.
5 of 6 people found the following review helpful
5.0 out of 5 stars
Baroque Pleasure, Jan 30 2011
By A. F. S. Mui "Mui" - Published on Amazon.com
This review is from: Colori D'amore (Audio CD)
This recent album by German coloratura soprano and baroque specialist Simone Kermes offers good musical enjoyment for baroque fans.
The choices are good, with some premiere recordings, as has been the trend these days in baroque vocal albums.
This soprano definitely has a specialty in this genre of compositions, as the vocal technique as well as her supreme sense of vocal style amply demonstrates.
Unlike her earlier LAVA album, the timbre is much more ravishing and expressive, showing a real committment to the pieces' emotional involvements as well as the diabolical technical demands.
That Ms. Kermes has an impeccable technique is clearly out of the question. The pieces in this album offer a terrific showcase of the singer's vocal capabilities, as well as wonderful musicality.
The human voice offers no lessor listening pleasure and musical range than any other instrument, and this album is clearly evident of this. Just listen to the trills and various embellishments, and you'd not be able to make out which is voice and which is sound: they blend together in unbelievable harmony.
1 of 1 people found the following review helpful
5.0 out of 5 stars
Meltingly beautiful, Oct 14 2011
By AD Van Breda - Published on Amazon.com
This review is from: Colori D'amore (Audio CD)
I am not a huge fan of this early opera music. Vivaldi and Handel are generally as far back as I want to go. But this CD really is, as the other reviewers have said, exquisite.
But I want to emphasise just one track that the others have not mentioned - the last track (Chi non sente) running for 10 minutes. It has a gentle instrumental pulse in the background and Ms Kermes' voice just floats delicately over the top, with long phrases and often long-sustained notes. It is meltingly beautiful. Something to listen to with the lights down and a glass of something, or a lazy summer afternoon when the sun is low and warm. Even the B section is measured, paced, stately, firm, without too much fire. And then, within seconds, we go back to the A section, with its delicacy and grace.
There is a similar version (maybe it is even the same) from Bruschi's opera Idaspe (available on the two Farinelli CD's, one with Genaux). But they are just no comparison. Genaux's version, which I've always loved, sounds by comparison heavy and stodgy and earthed. Kermes, by contrast, floats and shimmers, like feathers drifting on the breeze.
It is gorgeous and worth the price of the entire disk!