Frederica von Stade sings Mozart and Rossini Arias
FREDERICA VON STADE – mezzo-soprano
Rotterdam Philharmonic Orchestra
conducted by:
EDO DE WAART

PTC 5186 158

DSD remastered

ARDENT FEELINGS
AND VIRTUOSO FIREWORKS

Thirty years have now passed since July 1975, when the American mezzo-soprano Frederica von Stade recorded this aria recital with the Rotterdam Philharmonic under Edo de Waart, in the Rotterdam concert hall De Doelen. Now at last this programme, originally recorded in quadraphonic sound, has been released by Pentatone Classics for the first time as an SA-CD – a special vocal treat, for which opera fans have had to wait a long time!
Frederica von Stade was born in Summerville/New York in 1945. She never knew her father, who was killed fighting during the last days of World War II. After completing her vocal studies with various teachers, she was invited to join the New York Metropolitan Opera in 1970, where she sang over 20 different roles during her first three years. In 1973, she made her début as Cherubino, since recognized as one of her top roles, at the Paris Opéra; two years later, she portrayed Rosina for the first time at the Royal Opera Covent Garden, London; and in 1976, she sang the role of Cenerentola in Paris. In addition, she was highly successful in Debussy’s Pelléas et Mélisande and in various première performances of works, some of which had been written especially for her. For her 25th anniversary at the Met in 1995, she sang the role of Mélisande. During the course of her ever-active career, Frederica von Stade has recorded over 70 records and CDs, including full opera recordings, crossover albums and Lieder. Her numerous awards include six Grammy nominations, two Grand Prix du Disc, the Deutsche Schallplattenpreis, and various others. Furthermore, she has been made a member of the Ordre des Arts et des Lettres.
On this SA-CD, Frederica von Stade can be heard in a number of her star roles – both in Rossini’s immensely difficult belcanto repertoire and in the classic Mozart roles. Special mention must be given, however, to her magical rendering of the trouser role of Cherubino, whose pubescent sexuality and agitation she recreates with animated voice and perceptible sensuality in the aria “Non sò più”. And the lengthier phrases of “Voi, che sapete” vibrate with similar subliminal lust and exuberance.
Whereas Le nozze di Figaro remains one of Mozart’s most popular operas, his last – La clemenza di Tito – has never quite managed to gain a foothold within the regular opera repertoire. Frederica von Stade can be heard here in two roles: as Vitellia, the daughter of the emperor Vitellius and as Sesto, Vitellia’s lover. Both arias, Vitellia’s “Ecco il punto... Non più di fiori” and Sesto’s “Parto, parto” are written in static rather than dramatic manner, and are usually performed as solo scenes, with instruments – i.e. the clarinet and basset horn – employed in soloist fashion. The instruments battle in virtuosity with the singer, and the resemblance to Mozart’s clarinet concerto cannot be ignored.
In the role of Zerlina in “Vedrai, carino” from Don Giovanni, von Stade manages to provide her lover Masetto, who has been badly beaten by Don Giovanni, with the very best of musical relief. This sheds a whole new light on music therapy! And when, during the second part of the aria, Zerlina’s pounding heart is audible not only in the orchestra (but also in the sensitive interpretation of Frederica von Stade), Massetto’s knees also turn to jelly.
The three Rossini arias selected for the recording make totally different demands on the singer: here too, of course, the main issues involve individual feelings and emotions; but first and foremost, an “agile throat” is demanded of the singer. Virtuosity is a must. And that is something von Stade supplies here in unadulterated form.
In his comic opera Il barbiere di Siviglia, Rossini created the perfect role for a coloratura-mezzo-soprano: Rosina. Almost six minutes of vocal tours de force – daring leaps, runs, appoggiaturas and coloraturas. A saucy young girl, who keeps a tight rein on the intrigue.
The aria “Assisa a’ piè d’un salice” from the opera seria Otello, however, is an entirely different matter. Here we encounter a famous scene from world literature: Desdemona is waiting in her bedchamber for Otello to arrive. Arpeggios on the harp provide a gentle introduction to Desdemona’s “Willow Song”, a symbol of her loneliness, before she begins to recount the sad story of Isaura. Her apprehensive tension is mirrored in the song, which starts off peacefully and then becomes increasingly intense with each verse.
The aria of Angiolina from Rossini’s La cenerentola makes a magnificent finale. Von Stade sets off fireworks with her brilliant and virtuoso rendering of “Non più mesta”, when happiness, so long absent from Cinderella’s life, finally returns and all troubles vanish into thin air.

You wanna hear singing? Sit back, turn out the lights, boost the volume and check out what the mezzo does with Rossini's ``Una voce poco fa,'' the famous cavatina from ``The Barber of Seville.'' This whole record, a reissue of performances from the '70s, is dynamite. Edo de Waart conducts the Rotterdam Philharmonic Orchestra.
Richard Scheinin, San Jose News“In t

his recital State focuses on two composers close to her—Rossini and Mozart in these arias from six operas, all performed with technical expertise, taste and intrepretive insight. As with all Pentatone RQR recording, the original four-tracks produce an uncommonly natural sonic picture. Complete texts and translations are included”
--Robert Benson, classicalcdreview

“If you are a fan, this will self-recommend (if you don’t already own it). If you are not, this disc will demonstrate why you should be… De Waart and the Rotterdam Philharmonic provide attractive, lively, and well-characterized accompaniments; PentaTone supplies texts and translations, for which one should be grateful. Most recital discs today seem to omit these. Very enthusiastically recommended.”
-- Henry Fogel, FANFARE