Operatunity – The Winners
Two winners sing honourably – but is that enough in a highly competitive world?
View record and artist detailsRecord and Artist Details
Composer or Director: Wolfgang Amadeus Mozart, Giacomo Puccini, Arthur (Seymour) Sullivan, Georges Bizet, (Clément Philibert) Léo Delibes, Antonín Dvořák, Engelbert Humperdinck, Alfredo Catalani, Giuseppe Verdi, George Frideric Handel, Vincenzo Bellini
Genre:
Vocal
Label: EMI
Magazine Review Date: 4/2004
Media Format: CD or Download
Media Runtime: 76
Mastering:
Stereo
DDD
Catalogue Number: 557594-2
Tracks:
Composition | Artist Credit |
---|---|
Gianni Schicchi, Movement: O mio babbino caro |
Giacomo Puccini, Composer
Denise Leigh, Soprano English National Opera Orchestra Giacomo Puccini, Composer Paul Daniel, Conductor |
Rusalka, Movement: O, moon high up in the deep, deep sky (O silver moon) |
Antonín Dvořák, Composer
Antonín Dvořák, Composer Denise Leigh, Soprano English National Opera Orchestra Paul Daniel, Conductor |
Rigoletto, Movement: ~ |
Giuseppe Verdi, Composer
Denise Leigh, Soprano English National Opera Orchestra Giuseppe Verdi, Composer Paul Daniel, Conductor |
Lakmé, Movement: ~ |
(Clément Philibert) Léo Delibes, Composer
(Clément Philibert) Léo Delibes, Composer Denise Leigh, Soprano English National Opera Orchestra Jane Gilchrist, Soprano Paul Daniel, Conductor |
(Le) nozze di Figaro, '(The) Marriage of Figaro', Movement: Dove sono (second part: Act 3: Countess: 1789 vers |
Wolfgang Amadeus Mozart, Composer
English National Opera Orchestra Jane Gilchrist, Soprano Paul Daniel, Conductor Wolfgang Amadeus Mozart, Composer |
(La) Wally, Movement: Ebben?...Ne andrò lontana |
Alfredo Catalani, Composer
Alfredo Catalani, Composer English National Opera Orchestra Jane Gilchrist, Soprano Paul Daniel, Conductor |
Madama Butterfly, Movement: Un bel dì vedremo |
Giacomo Puccini, Composer
English National Opera Orchestra Giacomo Puccini, Composer Jane Gilchrist, Soprano Paul Daniel, Conductor |
(Le) nozze di Figaro, '(The) Marriage of Figaro', Movement: ~ |
Wolfgang Amadeus Mozart, Composer
Denise Leigh, Soprano English National Opera Orchestra Jane Gilchrist, Soprano Paul Daniel, Conductor Wolfgang Amadeus Mozart, Composer |
Samson, Movement: Let the bright Seraphim |
George Frideric Handel, Composer
English National Opera Orchestra George Frideric Handel, Composer Paul Daniel, Conductor |
Turandot, Movement: Signore, ascolta! |
Giacomo Puccini, Composer
English National Opera Orchestra Giacomo Puccini, Composer Jane Gilchrist, Soprano Paul Daniel, Conductor |
Norma, Movement: ~ |
Vincenzo Bellini, Composer
Denise Leigh, Soprano English National Opera Orchestra Paul Daniel, Conductor Vincenzo Bellini, Composer |
(Le) nozze di Figaro, '(The) Marriage of Figaro', Movement: Porgi, amor |
Wolfgang Amadeus Mozart, Composer
English National Opera Orchestra Jane Gilchrist, Soprano Paul Daniel, Conductor Wolfgang Amadeus Mozart, Composer |
Hänsel und Gretel, Movement: ~ |
Engelbert Humperdinck, Composer
Denise Leigh, Soprano Engelbert Humperdinck, Composer English National Opera Orchestra Jane Gilchrist, Soprano Paul Daniel, Conductor |
Carmen, Movement: Je dis que rien ne m'épouvante (Micaëla's aria |
Georges Bizet, Composer
Denise Leigh, Soprano English National Opera Orchestra Georges Bizet, Composer Paul Daniel, Conductor |
(The) Pirates of Penzance (or The Slave of Duty), Movement: Poor wandering one |
Arthur (Seymour) Sullivan, Composer
Arthur (Seymour) Sullivan, Composer English National Opera Orchestra Jane Gilchrist, Soprano Paul Daniel, Conductor |
Author: Alan Blyth
Leigh has the more distinctive voice, its quick vibrato unfashionable but giving character to her tone, even if it sometimes seems a mite insubstantial. On the whole she sings lighter roles with poise and accuracy, but seems over-stretched by ‘Casta diva’ and Micaëla’s aria from Carmen, which call for a bigger sound. Gilchrist has the heavier voice, able – as here – to encompass Butterfly’s famous aria, and always secure in manner. Both offer creditable accounts of ‘Caro nome’ as they did in the TV broadcast of Rigoletto.
Neither seems to have any special interpretative insights to offer into their repertory, but then how can that not be, given that their stage experience is virtually nil? They sing in the well-studied, careful way of singers taking part in an audition. It’s significant that both come to life when performing in English – Leigh in Handel and Gilchrist in Sullivan – so it is surprising that Paul Daniel did not persuade them to sing everything in the vernacular, particularly when their grasp of the foreign texts seems a bit vague.
Which leads me to the surely relevant point that regular sopranos in our native companies, who have the experience lacking here and have worked their guts out to create estimable careers, are not granted this kind of opportunity. That in no way detracts from the dedicated work put in by these two aspiring singers. Daniel and his orchestra provide loyal support, but might have helped each artist by proposing faster speeds all-round, the Mozart pieces apart, which are surely too hurried!
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