Golden Age
Lawrence Brownlee (tenor); Erin Morley (soprano)
Münchner Rundfunkorchester/Ivan Repušić
rec. 2024, Bayerische Rundfunk, Munich, Germany
Booklet contains texts in French and Italian with English translations
Pentatone PTC5187400 [62]
This collection which is made up mostly of French arias and duets is a decided step forward for American tenor Lawrence Brownlee. Mainly because it is the first of his commercial recordings to feature him in the 19th century French repertoire, which would seem to be the one most suited to his gifts. In the past he has been heard mostly in recordings of works from the bel-canto era and indeed this recital closes with a couple of selections from that period. The interesting thing is that Brownlee’s voice, which is a light lyric tenor, is that it has this wonderful catch in it, one which has a gently perceptible astringent edge which suits French music as if his were a voice native to the terroir of France. His stunningly physical yet winsome-voiced performance of the title role in the BelAir Blu-ray of Rameau’s Platée impressed me as a career defining moment for Brownlee (review).
The recital begins with a choice morsel of the Duet from La File du Regiment. Here Brownlee and coloratura soprano Erin Morley, blaze through Donizetti’s music with fastidiousness and sincere charm. This begins the recital on a bright note which also happens to be a timely souvenir of their performances together in this opera in New York, which are still going on as I write this review.
Another high point (pardon the pun) is the wonderful duet from Le Comte Ory, although it was originally adapted from Il Viaggio a Reims (a point which the booklet leaves out). Here Morely is a bright, vivacious Countess to Brownlee’s predatory Count, in disguise as “Soeur Colette” (a crucial musical and dramatic point also not indicated in the booklet). Morely’s bright-edged tone is very at home in French music and has qualities similar to Beverly Sills in her prime. Brownlee wonderfully conveys the un-sisterly ardour which grows as the duet evolves.
Nadir’s romance from Les pêcheurs de perles has some very long-lined musical phrases which will test any tenor’s breath control to be able to maintain that sense of seamless line. Brownlee reaches his limit quite early in the aria but he proves that the remainder of it is child’s play for him. A lovely recording of this piece which assisted by Ivan Repušić’s elegant approach to the music.
Bizet’s La Jolie Fille de Perth has virtually disappeared from the repertoire and yet it contains some very beautiful music which should keep it at least on the outer fringe of the repertoire. The duet here for Brownlee and Morely features more of their beautifully sculpted vocal technique in some very difficult musical passages which shows how perfectly in synch they were during the sessions. The lovely first act duet for Lakmé and Gérald from Delibes’ opera of the British Raj is also given a scintillating performance from this pair of singers, especially in the second half of the scene. Incidentally this duet is recorded in a more complete form than I recall hearing before.
Along the way there are a few solo arias for the two singers to shine in. Again from Lakmé there is a particularly brilliant performance of the Bell Song from Morley which is also notable for Repušić achieving a true diaphanous sound from the orchestra, which is deeply pleasing. She also demonstrates a more tender side in a sweetly delicate “Caro nome” from Rigoletto. Marino Falliero finds Brownlee in splendid Bel-Canto form in Fernando’s aria and cabaletta (rather more cabaletta than aria). The recital concludes with a fine if somewhat businesslike tempo for the usually sublime love duet from Don Pasquale. This is Repušić’s single flaw on the entire album, though both singers give fine accounts of their parts. A touch of rubato would have allowed Donizetti’s gorgeous chains of thirds to pass by as a gently as a breeze. Don’t let that deter you from a purchase. The release of this album is just in time to make it a wonderful gift for those who love golden age vocalizing. It should find a welcome place under any under any Christmas tree.
Mike Parr
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Contents
Donizetti: La Fille du Régiment: Quoi! Vous m’aimez? … De cet aveu si tender
Rossini: Le comte Ory: Ah, quel respect … Ce téméraire qui croit nous plaire
Bizet: Les pêcheurs de perles: À cette voix quel trouble … Je crois entendre encore
Bizet: La Jolie Fille De Perth: Ils verront si je mens!
Delibes: Lakmé: D’où viens-tu?… Où va la jeune Indoue “L’Air des clochettes”
Donizetti: Marino Faliero: Di mia patria o bel soggiorno
Verdi: Rigoletto: Gualtier Maldè! … Caro nome
Donizetti: Don Pasquale: Tornami a dir che m’ami
