This live recording of a solo recital given by Lise Davidsen at New York’s Metropolitan Opera is a powerful snapshot of a soprano at the peak of her powers. Partnered by pianist James Bailieu, Davidsen sings as if she knows that this recording – much like Joan Sutherland’s The Art of the Prima Donna or Leontyne Price’s ‘blue album’ – will be a definitive document of her artistry.
Consider the program. It’s a showcase for the soprano’s electric voice – like a column of pure light, or perhaps some awesome glacier – and command of various styles, languages and emotional registers. There are few curveballs here: this is a fairly typical selection of music for her fach, meant to show off the quality and scale of the voice.
A beautifully focused Vissi d’arte opens proceedings. It’s less fragile than some of the most acclaimed interpretations – those by Scotto, de los Angeles and Freni come to mind – more dignified and somehow morally serious, of a piece with her overall temperament as an artist. It’s followed by a Morrò, ma prima in grazia from Un ballo in Maschera of exquisite sincerity, Davidsen ratcheting up the intensity through thoughtful phrasing and rhythmic attack. While not all of her previous outings in Italian repertoire have been convincing, here she sings most idiomatically, with a feel for the language and rhythmic attack that wasn’t always there.
The bulk of the album, however, is dedicated to songs by Strauss, Schubert and Sibelius, and here Davidsen might have few contemporary equals. In the Strauss selections her effortless projection and technical control flood the vast Met auditorium with glorious colour. Her rendition of Zueignung is one of the recording’s highlights, a rapt declaration of love that may as well be an affirmation of life, so expansive is its emotion. I found myself unable to sit down.
In Schubert, the soprano manages to scale down her voice effectively, giving careful attention to the text and dynamic shading of each song. Her Gretchen am Spinnrade is a standout, gripping in its dramatic intensity and nuance, while An die musik has a quiet vulnerability that is most affecting.
Songs by Sibelius follow, and Davidsen is at her most commanding here. The luminosity of her tone is on full display, as is a sense of roiling emotion, which threatens to burst its banks at any moment. This is singing of great personality and musicianship.
The crowning moment, of course, is the soprano’s Dich, teure Halle from Tannhäuser, which is almost overwhelming in its sheer power. The encore is a tender rendition of Grieg’s Våren, which is simply lovely.
As for Bailieu, he gives a sterling performance as the soprano’s accompanist. His detailed, attentive pianism is particularly impressive in the Wagner and Strauss selections. Although he can’t replicate the weight and power of a full orchestra, his playing provides plenty of impact and colour. There’s nothing wanting here, just outstanding musicianship.
Title: Lise Davidsen Live at the Met
Works: Songs and Arias by Strauss, Sibelius, Schubert et al.
Performers: Lise Davidsen s, James Bailieu p
Label: Decca 4870691
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