Yolanda Marcoulescou-Stern
was the leading soprano at the Opera
House in Bucharest for fully twenty
years. Eventually in 1968 she left Rumania
travelling to the United States where
she taught at the University of Wisconsin
in Milwaukee. Most of the recordings
issued in this and its companion set
(also a three CD box) were made after
her tenure at Wisconsin but the operatic
excerpts are products of her pre-1968
career in Bucharest. I’m sorry not to
be able to date these discs more precisely
but Gasparo have given me nothing to
go on.
Marcoulescou-Stern
died in 1991 and hers will, I think,
not be a well-known name. I admit I’d
not heard of her and on the basis of
the recordings here it’s high time that
they were made widely available on compact
disc – they’re impressive. If the words
Rumanian soprano, Opera House and operatic
extracts lead you to expect a big voice,
powerful declamatory style, strong vibrato
and emotive wobble think again. On the
contrary this is quite a small, subtle
and intensely flexible vocal instrument,
deployed with bewitching intellectual
acumen. The repertoire on these discs
should alert one to the kind of strengths
she displays - incremental revelation
of text, inflection, Gallic finesse,
and characterisation, exploration of
words and music in synchronous understanding.
She certainty has versatility
in her operatic arias (they are split
between this and Volume II), floating
her tone in the Thomas beautifully and
displaying a crystalline trill in Je
suis encore from Manon; nothing
sounds false or forced or unwieldy.
But the bulk of this set is devoted
to chansons in all its variety, geographical
and musical and this is a perceptive
selection of material, persuasively
interpreted. Sarah Walker is much associated
with this kind of literature in Britain
but not even she, I think, could lay
claim to the range of composers that
Marcoulescou-Stern essays so vividly
and characterfully. Her Ibert is capped
by her exquisite Vocalise and
she is well partnered by the knowingly
avian flute of Robert Goodberg in these
unusual settings and those of Roussel’s
Ronsard chansons. I especially appreciated
the delicate impressionism of the Caplet
setting and the understanding and seriousness
of Honegger’s devout Peuple du
Christ.
She sounds to have
the full measure of the Enescu settings
– not least the character of Changeons
propos - and also the reflective
intimacy of Roussel’s Sur lui-même.
Lest one think that an impressionistic
heat haze hangs over the recital one
can happily point to the night club
vamp of Jazz dans la nuit, a
wonderful Roussel piece or Satie’s La
Statue de Bronze which sounds like
a 1950s pop song or the douceur of his
Daphénéo. If you
don’t know these Satie songs go straight
to La Diva de "l’Empire"
and listen to the quirky, cabaret
style frolics that saturate it. Even
amongst this variety the Debussy and
Ravel settings respond eloquently to
her. This is an elusive region for many
singers, where colour, vocal and pianistic,
has to be finely judged. She and the
pianist Katja Phillabaum prove model
guides. There were one or two moments
when I wished for slightly greater weight
at the bottom of her register and there
are one or two examples of her somewhat
forcing her tone (in the first of the
Trois Chansons de France for example)
but these are minor concerns. Phillabaum
is splendid in the piano postlude of
Pour ce que Plaisance est morte
from the same set of three and her voicings
in the Ravel setting D’Anne jouant
de l’Espinette are first rate. Marcoulescou-Stern
proves equally at home here – clarity
without loss of expressivity and alive
and characterful with beauty of tone
(sample Manteau de Fleurs). And
when it comes to a difficult setting
such as Schmitt’s Si her sense
of characterisation and incident allows
her to deal with its sometimes vertiginous
moods in a way both elastic and convincing.
Full texts are provided
in three separate fold out booklets
and brief details of singer and fellow
musicians. It’s been a most rewarding
experience to have encountered Marcoulescou-Stern’s
art – because Gasparo’s series title
is no exaggeration and quite aptly chosen.
Jonathan Woolf
see also review
Volume 2
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