There are recital discs
that do credit to the solo artist featured
and there are those that seem to do
their reputations no good at all. Happily,
this disc falls squarely into the former
category. This is despite the fact that
the chosen repertoire will prompt many
to compare Ana Maria Martinez to other
greats, among them de los Angeles, Caballé,
Gheorghiu and Freni. I can hear some
eagle-eyed readers ask, "Did he
really mean other greats?"
Well, yes I did, and the inference that
I think Martinez is to be tipped for
greatness was equally deliberate.
I do not know how long
these works had been in her repertoire
before she recorded them, but it feels
as if it could have been a long time.
The performances suggest almost without
exception that each aria has been thought
through, and a definite approach decided
upon. In many ways the Delibes sets
the tone for the disc: expressive, strongly
sung throughout the range and characterisation
very much to the fore. The temperament
- one of strength and passion - fits
Martinez like a glove too, reflecting
to a certain extent her Latin roots
– she hails from Puerto Rico – and this
makes the interpretation all the more
winning. An auspicious opening indeed.
The pairing of Gounod
and Puccini that follows reveals other
sides to her artistic personality. So
often arias CDs move between composers
with less noticeable distinction than
they ought to; not here, however. The
Gounod is given with a lightness of
touch and airiness in the vocal line,
and the voice positively radiates a
smile – poles apart from the last version
I encountered: Amelia Farrugia on Decca.
In the Puccini one is aware of her sensitivity
to line and beauty of vocal tone. It
was only after this experience that
I reflected earlier her forte had been
a bit too forced in the Delibes.
Lehár’s Vilja-lied
is again strongly projected, and the
same slight hardness creeps in, though
for me it does not spoil things much.
Another small thing I became conscious
of was Martinez’s reluctance to enunciate
vowels fully. In this she is far from
alone today. But to linger is to over-accentuate
a minor problem that will no doubt receive
attention.
Of the two remaining
Puccini items Doretta’s aria from La
rondine appears to suit the voice
more, given the warmth of emotion contained
in the words, but it should be said
that Madama Butterfly contains
no vocal pitfalls for her, the voice
having a remarkable range in addition
to flexibility of expression. Oh, the
days of youth when all seems possible!
Pablo Luna and Francis
Lopez may not be household names in
the UK, but their music is certainly
close to Martinez’s heart, and she rewards
both composers with passionate performances.
Her singing of Spain (both composers)
and of flowers (Lopez) made me aware
of how right her voice would be for
Carmen. By coincidence this CD’s release
coincides with her Met debut, for which
she sings that role. That we’ll have
to wait for on disc, but in the meantime
these works offer much in showing the
direction she is already most wisely
exploring. Of all the items included
here these are amongst the ones I have
returned to most often.
To that pair is added,
for me at least, her Canteloube and
Villa-Lobos. Immediately I recall my
earlier words on her Puccini in respect
of warmth of emotion and flexibility
of expression – even without words there
is feeling. Earlier still I mentioned
de los Angeles, for many unequalled
– even unequallable, let alone surpassable
– in this music. I am among those that
love de los Angeles’ recordings of these
works, but by the time I had reached
Martinez singing them I was wanting
her to give them her own stamp, not
just ape a previous great. Martinez
does not disappoint either, and it is
to her credit that her vision and personality
shine the most when the recorded competition
might be the strongest.
So far, not a word
on the accompaniment. Some might regret
more than me the lack of a chorus in
the Vilja-lied, but the arrangement
is adequate. Here, as throughout, Mercurio’s
conducting is experienced and unfussy.
The playing he draws from the Prague
Philharmonia is more notable for
pliant vigour and strength of instrumental
colouring than its delicacy of shading.
It might seem churlish
at this stage to bring up some other
slight quibbles: the strange ordering
of the items I can’t explain. Having
texts and translations available as
a PDF download worries me less here
than it might if the release were a
full price one. Then there’s the time
delay in releasing the CD; why did it
take over five years to reach us? Finally,
there’s the shortish playing time. With
Martinez’s repertoire extending far
beyond the items included here it is
a pity not to have more of it. Every
diva dreams of leaving her audience
wanting more. After this disc I certainly
do, and Naxos should provide it with
some urgency.
Evan Dickerson
see also review
by Goran
Forsling January RECORDING OF THE
MONTH
Ana Maria Martinez (soprano)
