This is the first recording by the American contralto Stephanie Blythe
(although most of the repertoire included here reveals her to be closer to a
mezzo-soprano). Blythe is perfectly at ease on stage in Verdi, Wagner or
Britten, has a fine reputation in Brahms, but has also played Cornelia in
Handel’s Giulio Cesare in Egitto.
As is often the case nowadays, the first CD showcasing a new artist is a
recital. Blythe possesses a strong powerful voice with rich low notes and
clear high notes. However, her attacks are sometimes hard, which can result in
having the sound too much back in the throat. This can cause a lack of
suppleness, some problems with mixing the registers, a loss of accuracy in the
fast runs - particularly in the mid to low range of her voice - and with the
legato. Her vocal personality does not really seem to fit perfectly a
piece like ‘Ombra mai fu’. It is quite different with ‘Al lampo dell’armi’,
and the English arias. Blythe's interpretation of ‘Iris, hence away’ is the
highlight of the recording, and she displays a total involvement in the
character. The main drawback with this recital is finally one of
interpretation. Whilst there is dramatic effort, it is too monotonous without
sufficient contrast between different characters. This is particularly true
for the Handel arias, but perhaps matters less in Bach.
The most satisfying moments on this recording are both from Giulio
Cesare: the aria ‘Priva son d’ogni conforto’ and the duet ‘Son nata a
lagrimar/Son nato a sospirar’ sung with the countertenor David Daniels. The
duet highlights the difference between the dramatic intensity of David
Daniels, even in such a high part, and the sort of detachment we can feel in
S. Blythe’s singing - although the contrast between them works very well.
L’Ensemble Orchestral de Paris provides an efficient accompaniment and the
presence of Jérôme Hantai (viola da gamba) and Emmanuelle Haïm (harpsichord)
is welcome.
In short, the Handel arias are more impressive than moving. The Bach arias,
which do not belong to the same theatricality and the same vocalità,
are much more satisfying in both ways. This review could seem to be harsh, but
such a recital is certainly not the wisest choice for the debut of a young
singer not totally at ease with the 18th century bel canto techniques
despite her vocal talent and ability on stage. Let us hope Blythe will soon
record some Brahms…
