Elizabeth Watts; "Nachtviolen"; Franz Schubert скачать в хорошем качестве

Elizabeth Watts; "Nachtviolen"; Franz Schubert

Elizabeth Watts---soprano Roger Vignoles---piano 2008 ============================ BBC Music MagazineJanuary 2009 …Watt's youthful, radiant delivery, with no flaws in technique that I can hear, fits many of the Lieder like a glove. ============================== Gramophone MagazineFebruary 2009 A voice in its first, radiant freshness is always to be cherished in Schubert. Watts is a thoughtful interpreter, too, alive to mood and atmosphere… Crucially, she also brings a measure of innocence and simplicity - not quite the same thing as artlessness - to many of these songs, allied to a technical mastery that allows her to spin a rapt, unblemished line in "Nacht und Träume". ================================ Gramophone Classical Music Guide2010 Hailed as a singer to watch after winning the 2006 Kathleen Ferrier Award and the 2007 Cardiff Song Prize, Elizabeth Watts makes her CD debut with this refreshingly unhackneyed Schubert programme. Perennial soprano favourites – DieForelle, Nacht und Träume, Frühlingsglaube, Suleika – are not shunned. But Watts has alighted on some rarely aired gems. How often in recital do we hear the agitated scena-in-miniature AusDiego Manzanares; or the playfully charming paean to spring Die Blumensprache; or the Novalis setting Marie, where sacred and profane blur in a song of exquisite, rarefied grace? A voice in its first, radiant freshness is always to be cherished in Schubert. Watts is a thoughtful interpreter, too, alive to mood and atmosphere, colouring her tone in response to a darkening of the harmony in, say, Sei mir gegrüsst. Crucially, she also brings a measure of innocence and simplicity – not quite the same thing as artlessness – to many of these songs, allied to a technical mastery that allows her to spin a rapt, unblemished line in Nacht und Träume. Encouraged by Vignoles's buoyant accompaniment, she makes an engaging story-teller in Die Forelle, with an unexaggerated touch of indignation at the angler's treachery; and she sings the mildly salacious refrain song Die Männer sind méchant with just the right wide-eyed mock-pathos. Quibbles? Well, in one or two songs, including the opening An den Mond, Watts struck me as overly languid. She treats Nähe des Geliebten as an elegiac litany, where, say, Janet Baker, choosing a more mobile tempo and finding greater variety from verse to verse, sings it as a passionate avowal of love. Watts also emphasises melancholy over excited anticipation in Frühlingsglaube and Suleika. Here and elsewhere, Watts under-exploits the expressive potential of German consonants. That said, highlights are lovely performances of Nachtviolen – the high tessitura effortlessly negotiated – or the Mozartian barcarolle Liane: just two songs among many where the vernal purity of Watts's tone and the grace of her phrasing are priceless assets. ================================== "Elizabeth Watts (born 1979) is an English operatic soprano. Watts was born in Norwich and attended Norwich High School for Girls.[1] She studied archaeology at Sheffield University and graduated with first class honours. Beginning in 2002, she studied music at the Royal College of Music with Lillian Watson. She graduated in 2005 with distinction and the Queen Elizabeth the Queen Mother Rose Bowl, awarded annually for outstanding achievement. From 2005 to 2007, she was a member of the Young Singers’ Programme at English National Opera. In the 10/11 season she was Pamina/Die Zauberflöte for Welsh National Opera and Marzelline/Fidelio for the Royal Opera House, Covent Garden. Life and career In 2006, Watts won the Kathleen Ferrier Award. She represented England at the 2007 Cardiff Singer of the World Competition, reaching the final and winning the prestigious Rosenblatt Song Prize Competition.[2] She was chosen as a BBC Radio 3 New Generation Artist from 2007-2009. In 2011 she won a Borletti-Buitoni Trust Award.[3] Her earliest US appearances were in Boston with the Handel and Haydn Society of Boston in 2006[4] and with Cal Performances in San Francisco.[5] She made her debut at Santa Fe Opera in July 2008.[6] Recently Watts sang Mozart Requiem with the Boston Handel & Haydn Society and Harry Christophers which will be released on CD. Watts’ other recordings include discs of Schubert Lieder and Bach Arias, both of which were chosen as Gramophone Magazine Editor's Choice. She has also released recordings of Thomas Arne's Artaxerxes, Handel's Messiah with the Huddersfield Choral Society and Brahms Requiem with the London Philharmonic Orchestra. In January 2011, Watts was appointed as an Artist in Residence at London's Southbank Centre for the 2011-12 season.[7] In 2016 she premiered the role of The Countess in Elena Langer's opera Figaro Gets a Divorce, at the Welsh National Opera."; Wikipedia