Born in Sydney in 1950, Yvonne Kenny made her professional debut in London
in 1975 in a concert performance of Donizetti’s
Rosmondo
d’Inghilterra. After winning the renowned Kathleen Ferrier Competition
she joined The Royal Opera, Covent Garden, singing the light lyric roles of
Pamina, Susanna, Adina and Liu among others. In the field of opera she has
appeared at the Vienna State Opera, La Scala, Paris Opera as well as in
America and at the major international festivals. She has a distinguished
list of opera recordings to her name for a variety of labels including her
Italian bel-canto portrayals for Opera Rara. Yvonne has also made several
recordings for ABC and discs of
Great Operatic Arias on the Chandos
label.
This re-issue is of particular poignancy for two reasons. First, it
commemorates the twentieth anniversary of being the first
Australian-produced classical recording to achieve Gold status, awarded for
sales of over 35,000 copies. Second, the content is her answer to her
uncle’s 'crit' that he wanted to hear her in songs that he
himself liked rather than the chic lesser-known, even esoteric repertoire,
that was the staple of many artists' recitals at the time. Kenny
resisted the temptation to branch into musicals, jazz or blues, sticking to
what she believed she did best whilst also aiming to keep uncle happy. There
are, after all, many beautiful songs to be heard in a whole variety of
languages which by the time of this recording were often languishing
unheard. In the days of 78s they were often on the B-side of an aria or the
like. Here they are in a sequence, loosely linked in parts and generally in
the gamut of languages in which they were written together with the words
and English translations in the accompanying booklet.
In singing these songs Kenny brings the vocal distinction that she brought
to her performances in the opera houses of the world and which has
illuminated her teaching career as Professor of Voice at London’s Guildhall
School of Music and Drama. Her own skills in a variety of languages are in
evidence in this collection as are her vocal qualities caught at the height
of her career. There is a wonderful example of her renowned singing of
Handel in
Let the bright Seraphim from
Samson (tr.6). The
runs and scales are accurate
, but more important
is the tonal beauty and vocal clarity. Yes, as a consequence of the key of
the music the odd consonant is missing, but far fewer than many I could
mention. In this aria, and elsewhere, I was struck by how her vocal nuance,
tonal variation and expressiveness convey the various sentiments and moods
of the songs whilst maintaining her admirable legato. Add to this her beauty
of tone and silvery grace with words. It's a near ideal combination
which is at the heart of this collection of many tunes that we all know but
sometimes just cannot place. At first I had a sorrow at the absence of any
Mozart - a composer she recorded in complete operas. I would have loved her
to have included Susanna’s
Deh vieni from act four of
The
Marriage of Figaro but realistically, after nearly twenty years of
filling the space of big opera houses all over the world, perhaps the
capacity for phrasing on the breath in that lovely aria is not what it was.
What she presents here I hope satisfied her uncle. It certainly has elevated
my several days since its arrival. In value for money and sheer enjoyment
this collection is very welcome again on my shelves.
Robert J Farr
Track Contents
Antonín DVORÁK (1841-1904)
Rusalka - Song to the moon [6.22]
Giacomo PUCCINI (1858-1924)
Gianni Schicchi - O mio babbino caro [23.18]
Léo DELIBES (1836-1891)
Les Filles de Cadiz - Chanson Espagnole
[3.12]
Ivor NOVELLO (1893-1951)
Perchance to Dream - We'll gather lilacs
[4.12]
Charles GOUNOD (1818-1893)
Ave Maria [2.40]
George Frideric HANDEL (1685-1759)
Samson - Let the Bright
Seraphim {5.14]
César FRANCK (1822-1890)
Panis angelicus [3.27]
Franz SCHUBERT (1797-1828)
Schwanengesang D 957 - no 4,
Ständchen
[3.52]
Edvard GRIEG (1843-1907)
Peer Gynt. Op. 23: no 18. Solvejg's Song [4.44]
DVORÁK
Zigeunermelodien (7), Op. 55: no 4, Als die alte Mutter (Songs my mother
taught me) [2.26]
Felix MENDELSSOHN (1809-1847)
Songs, Op. 34: no 2, Auf Flügeln des Gesanges (On wings of song)
[2.17]
Franz SCHUBERT (arr. Gamley)
Rosamunde D 797/Op. 26: no 5, Romance. Der
Vollmond strahlt [ 2.50]
Giovanni Battist MARTINI (1741-1816) (arr. Whaite)
Plaisir d'amour [3.16]
Joseph CANTELOUBE (1879-1957)
Chants d'Auvergne Volume 1 - no 2,
Baďlčro [4.54]
Traditional (arr. Gamley 1924)
Danny Boy (Londonderry Air) [3.26]
Friedrich von FLOTOW (1812-1883)
Martha - Letzte Rose (The last rose of summer)
[2.19]
Benjamin BRITTEN (1913-1976)
Folksongs (7), Volume 3: no. 6. O waly, waly
[3.26)
Traditional (arr. Hurst 1925-2014)
I know where I'm going [1.50]
Henry BISHOP (1786-1865) (arr. Gamley)
Clari - Home, Sweet Home [1.58]
Aaron COPLAND (1900-1990)
Old American Songs. (trad) Set 1. Simple Gifts [1.54]
