Sumi Jo - La Promessa
View record and artist detailsRecord and Artist Details
Composer or Director: George Frideric Handel, Salvatore Rosa, (Pietro) Alessandro (Gaspare) Scarlatti, Antonio Cesti, Stefano Donaudy, Giuseppe Giordani, Giovanni Paisiello, Gioachino Rossini, Christoph Gluck, Domenico Scarlatti, Vincenzo Bellini, Giuseppe Sarti, Wolfgang Amadeus Mozart, Antonio Caldara, Julius Benedict, (Francesco) Paolo Tosti, Giuseppe Verdi
Label: Erato
Magazine Review Date: 11/1998
Media Format: CD or Download
Media Runtime: 68
Mastering:
DDD
Catalogue Number: 3984 23300-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Caro mio ben |
Giuseppe Giordani, Composer
Giuseppe Giordani, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
| Giulio Sabino |
Giuseppe Sarti, Composer
Giuseppe Sarti, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
| (6) Ariette da camera, Movement: Malinconia, ninfa gentile |
Vincenzo Bellini, Composer
Sumi Jo, Soprano Vincenzo Bellini, Composer Vincenzo Scalera, Piano |
| Qual farfalletta amante |
Domenico Scarlatti, Composer
Domenico Scarlatti, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
| (6) Romanze, Movement: Ad una stella (wds. A. Maffei) |
Giuseppe Verdi, Composer
Giuseppe Verdi, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
| Rinaldo, Movement: ~ |
George Frideric Handel, Composer
George Frideric Handel, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
| Per pietà, bell'idol mio |
Vincenzo Bellini, Composer
Sumi Jo, Soprano Vincenzo Bellini, Composer Vincenzo Scalera, Piano |
| Paride ed Elena, Movement: ~ |
Christoph Gluck, Composer
Christoph Gluck, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
| Star vicino |
Salvatore Rosa, Composer
Salvatore Rosa, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
| Se Florindo è fedele |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
| Non t'amo più! |
(Francesco) Paolo Tosti, Composer
(Francesco) Paolo Tosti, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
| Intorno all'idol mio |
Antonio Cesti, Composer
Antonio Cesti, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
| Soirées musicales, Movement: La promessa (canzonetta: wds. P. Metastasio) |
Gioachino Rossini, Composer
Gioachino Rossini, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
| (La) Capinera |
Julius Benedict, Composer
Julius Benedict, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
| O del mio amato ben |
Stefano Donaudy, Composer
Stefano Donaudy, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
| Giulio Cesare, 'Julius Caesar', Movement: V'adoro, pupille |
George Frideric Handel, Composer
George Frideric Handel, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
| Vaghissima sembianza |
Stefano Donaudy, Composer
Stefano Donaudy, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
| Ridente la calma |
Wolfgang Amadeus Mozart, Composer
Sumi Jo, Soprano Vincenzo Scalera, Piano Wolfgang Amadeus Mozart, Composer |
| Alma del core |
Antonio Caldara, Composer
Antonio Caldara, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
| (L')Amor contrastato, 'La Molinara', Movement: Nel cor più non mi sento |
Giovanni Paisiello, Composer
Giovanni Paisiello, Composer Sumi Jo, Soprano Vincenzo Scalera, Piano |
Author:
Here is one of the most delightful singers of our time heard in a programme that extends her repertoire on record and, being apt and congenial in itself, brings a double refreshment. There is a delicious coolness about the Korean soprano’s singing: an eighteenth-century elegance (the “sound of the cool colonnade”). And not the slightest coldness about it; simply a humanity and a civilization where the heart is not worn on the sleeve. Interestingly, this is so even in the songs which often excite a more overtly passionate style of performance, Tosti’s Non t’amo piu! and the two by Stefano Donaudy. Similarly, such light-hearted nineteenth-century pieces as Rossini’s “La promessa” and Benedict’s La capinera carry their gaiety with poise and refinement. It is partly that they benefit from the company of Handel and Mozart; partly that the clear voice and graceful style bring out the classicism in which their composers were educated rather than the thicker romanticism to which their age was tending.
Voice and style here are as one, and the opening Caro mio ben is a fine example of both. The tone remains unequivocally that of a high lyric soprano but now with a mature and reassuring warmth in the lower notes. The phrases are beautifully sustained and are shaded with respect for the unity of line. The quickening pace of the middle section is well judged, as is the modestly decorated “tanto rigor” leading back to the principal melody. Sumi Jo is responsive to the urgency of Bellini’s Malinconia and the lightness of Domenico Scarlatti’s Farfalletta. Moreover, I couldn’t help hearing inwardly another voice in some of these songs, and was so glad that Sumi Jo uses the expressive effectiveness of a ‘breathed’ intimacy sparingly, as Cecilia Bartoli would be well advised to do.
Vincenzo Scalera accompanies tastefully, and recorded sound is fine. The notes seem to imply that Caruso sang “Lascia ch’io pianga”. I would be happily surprised if so, and would like to know where and when.'
Voice and style here are as one, and the opening Caro mio ben is a fine example of both. The tone remains unequivocally that of a high lyric soprano but now with a mature and reassuring warmth in the lower notes. The phrases are beautifully sustained and are shaded with respect for the unity of line. The quickening pace of the middle section is well judged, as is the modestly decorated “tanto rigor” leading back to the principal melody. Sumi Jo is responsive to the urgency of Bellini’s Malinconia and the lightness of Domenico Scarlatti’s Farfalletta. Moreover, I couldn’t help hearing inwardly another voice in some of these songs, and was so glad that Sumi Jo uses the expressive effectiveness of a ‘breathed’ intimacy sparingly, as Cecilia Bartoli would be well advised to do.
Vincenzo Scalera accompanies tastefully, and recorded sound is fine. The notes seem to imply that Caruso sang “Lascia ch’io pianga”. I would be happily surprised if so, and would like to know where and when.'
Sumi Jo - La Promessa
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