Verdi: Canzoni

いまをときめくソプラノ歌手ディアナ・ダムラウを含むヴェルディ歌曲集！
伴奏はグルベローヴァの夫、名手フリードリヒ・ハイダー
今をときめくソプラノ歌手ディアナ・ダムラウがヴェルディの歌曲を録音しておりました！ ダムラウはこれまでにドイツTelosレーベルにマーラーの歌曲（TLS 1001）とシューマンのミルテの花（TLS 1006）をセッション録音しておりますが、本録音は2005年8月に録音されたものです。録音当時よりその才能を開花させ美しい高音と豊かな表現でヴェルディの歌曲を聴かせてくれます。この他、2010年に録音した2人の男性歌手の録音が収録されております。バリトンのポール・アーミン・エデルマンはオット・エデルマンの次男でウィーン少年合唱団のソリストでした。その後ウィーン州立オペラ歌劇場での「魔笛」をはじめ世界各地で活躍、今後ますます活躍が期待される若手のバリトン歌手です。そして、新進気鋭のテノール歌手、セザール・アウグスト・グティエレスは優美にそして情感豊かに歌い上げます。全ての伴奏をグルベローヴァの夫であるフリードリヒ・ハイダーが担当し、歌の伴奏者ならではの絶妙な表現も注目です。
キングインターナショナル

Diana Damrau is arguably one of the finest artists in the opera world in the early 21st century, with exquisite phrasing, drama, and heartfelt emotion. One need only hear her interpretations of German lieder, the Queen of the Night, or even Bernstein. Yet these Verdi canzoni are rather a disappointment, given Damrau's prodigious talent, though Cesar Augusto Gutierrez and Paul Armin Edelmann seem to be better suited to this repertoire. Damrau's Stornello begins this album, and there is too much scooping and added drama in the voice. The legato lines are lost, and Damrau interprets them in a more spoken fashion. Lo spazzacamino comes across as too bright and shrill; the drama seems to be coming more from the artist putting something into the song, rather than organically coming from the song itself. Sometimes the pitch variation in Damrau's vibrato creates a bit too much distortion, such as when she sings "Perduto ho la pace" in the song of the same name. However, here, one can hear Damrau's beautiful lower voice, and perhaps this song succeeds more because there is more restraint in her interpretation. Brindisi (2nd version) in particular demonstrates the general problem with all of these songs: it needs more darkness and heft in the voice, and these are generally not qualities for which Damrau is renowned. This is not to say that brighter, lighter voices should not sing Verdi, for Gilda is not a spinto role; rather, Damrau's voice is not suited to these particular Verdi canzoni. Regarding the other artists, Edelmann's baritone is tender and lyrical, as in La seduzione and in Nell'orror di notte oscura, for he evokes sympathy in the listener, he has the ability to touch you. His legato and lyricism are like that of a tenor. But sometimes, one feels that the fire and passion needed for Verdi are a bit lacking; Non t'accostar is turned into a lied. The most successful match is Gutierrez with the Verdi songs. He has more brightness and power, such as in the Brindisi and Il mistero (which is executed flawlessly), solid technique, and a consistent sound that never breaks. Sometimes his phrasing tends to run all the same, as does Edelmann's on occasion. Overall, this is not the most ideal choice of artists for Verdi, but this in no way disregards the great abilities of these opera singers.