The recordings of Ewa Podleś – “Contralto assoluto”
by Ralph Moore

Polish contralto Ewa Podleś died in 2023 aged only 71, her cause of death, with a horrible irony for a singer of such superlative breath control, being lung cancer. Hers was a voice which, once heard, could never be forgotten, having a range of over three octaves with utterly secure top notes and a baritonal lower register which only waxed in power as she became older. She was a consummate vocal and dramatic actress whose gifts surely harked back to the kind of voice for which Verdi wrote Azucena, Eboli and Ulrica, with a ringing top C, yet she was equally adept in Russian roles. I am aware that not everyone liked her voice; some found it meat too strong for their delicate sensibilities – but they are probably the same people who like small, shut-down, underdeveloped and “artistic” voices of the kind which has increasingly invaded the operatic stage and compromised its vocal integrity; they would probably also dislike Nathalie Stutzmann, Fedora Barbieri, Kathleen Ferrier, Ernestine Schumann-Heinck and Clara Butt for being too “masculine” – and I say fie upon them, as for me she is one of those voices like Corelli, Muzio and Ruffo that I just “drink in”…

The following is a selection of those of her recordings that I especially enjoy; for an artist who enjoyed such success over a very long career, she recorded surprisingly little – perhaps a couple of dozen recordings – and it seems to me that she was sometimes wheeled into productions and recordings like some sort of freak show owing to the unique individuality of her voice.  She had a small role as La Zelatrice in Bruno Bartoletti’s 1991 recording of Suor Angelica starring Mirella Freni and another as La Haine in Minkowski’s Armida, but recorded only two eponymous lead roles: Gluck’s Orfeo and Rossini’s Tancredi. There are, however, several recital albums and what we have is treasurable. I am less enamoured of her live concert recordings and have covered only one of them – but that is just my taste. I must observe that in several cases below, the recordings are by no means the most recommendable of the work concerned; in fact, I think Podleś was rather unfortunate with regard to the company she kept in recordings in which she participated – and indeed her contribution is often the welcome highlight.

The Recordings

Alexander Nevsky – 1994 (live); harmonia mundi, Naxos
Latvian State Choir
Orchestre National de Lille/Jean-Claude Casadesus

I reviewed this as part of my survey of this great choral work:

Recorded live in Lille in digital sound which lacks somewhat in immediacy, this performance also lacks the drive and edge required to bring the music alive – it is all far too genteel, the chorus sounding like Beecham’s bank clerks on an outing instead of a bunch of ferocious, blooded Russian warriors. Likewise, the invading Teutonic knights politely chant like a bevy of chaste monks. I cannot imagine that anyone in the audience that June night felt their neck-hair prickle. Nor does the orchestra do much to raise the temperature; “The Battle on the Ice” is a pleasant canter through the park. The victory celebrations are muted. The only thing preventing this recording from being a complete dud is the mesmerising contribution of Ewa Podleś, whose smoky tones elevate proceedings considerably – but you may equally hear her sing the same piece in recital “Russian Arias” below (studio digital). Otherwise, this cannot be recommended.

The following is from my 2021 survey of favourite Rossini opera recordings:

Tancredi – 1994 (studio); Naxos
Collegium Instrumentale Brugense/Alberto Zedda
Capella Brugensis
Tancredi – Ewa Podleś
Argirio – Stanford Olsen
Amenaide – Sumi Jo
Isaura – Anna Maria di Micco
Orbazzano – Pietro Spagnoli
Roggiero – Lucrezia Lendi

This was the set that many years ago first tipped me off regarding the quality of the best of the Naxos issues and also alerted me to the supremacy of Ewa Podleś amongst true contraltos – of which there are progressively fewer and fewer. Her smoky alto is ideal for conveying masculinity, just as was Marilyn Horne’s voice in her day.

On revisiting it, a number of very positive features strike me afresh: the quality of the recording is exemplary; the playing of the small, minor orchestra from Bruges is fleet, light and sensitive; Zedda’s direction is propulsive and flexible. But above all, it’s the cast which delights. Sumi Jo was rarely out of the recording studio in the early 90s before the market for new classical recordings imploded and once you hear the silvery beauty of her lirico-leggiero soprano entwining with the rich, agile, chocolaty tones of Podleś you realise why. Stanford Olsen is another Rossini specialist with a lovely light tenor and Pietro Spagnoli has a firm, virile baritone. There are no basses and two of the parts (Tancredi and Roggiero, his follower) are female “trouser-roles”. The supporting cast is uniformly pleasing.

Written in 1813 for Venice when Rossini was only twenty, this is a relatively conventional opera requiring voice, voice and more voice; apart from the lively choruses which comment upon and punctuate the action, most numbers are arias and duets rather than the concerted, complex, accelerating ensembles for which Rossini later became celebrated – although he obliges us with one of those “choo-choo-train” stretti to conclude Act 1. The vital thing is that the singer establish an “affetto” which engages the listener in the emotional mode of the aria. Podleś is especially good at doing this and makes the most of her set pieces, combining vocal pyrotechnics with Romantic feeling.

This remains a great bargain and the most recommendable recording of this opera, just as many might opt for the Naxos Il barbiere as the best bargain performance. Good notes, a synopsis and an Italian-only libretto are provided.

Mahler Symphony No. 3 – 1994 (studio); Naxos
Cracow Philharmonic Choir*, Cracow Boys’ Choir*, Polish National Radio Symphony Orchestra/ Antoni Wit

This is accounted a good, solid, dependable recording of Mahler’s longest symphony, structurally coherent but perhaps without quite the depth, polish or frisson of the very best. As with any recording in which she participates, steady, smooth and Sybilline, Podleś’ presence elevates it further, her dark, smoky tone being ideally suited to her “Erda-like” pronouncements – a role which, of course, she sang to acclaim in the Seattle Ring Cycle.

Rossini – Arias for Contralto – 1996 (studio); Naxos
Hungarian State Opera Chorus
Hungarian State Opera Orchestra/Pier Giorgio Morandi

Here is over an hour’s-worth of Rossini’s best arias for contralto, in a recital now over thirty years old as I write. By this stage of her career Podleś had further deepened and solidified her lower register to astonishing effect; the only singer to rival her trenchancy was Marilyn Horne, whom she often resembles in timbre and agility. There is one caveat, however: she had not yet succeeded quite in eliminating wholly an intermittent minor speech impediment which affected her enunciation of the letter “s”, so occasionally it becomes a lisped “th”; it doesn’t much bother me in the face of so much stellar singing. The arias range over a decade of Rossini’s operatic output, from his first international success, Tancredi, in 1813, to Semiramide of 1823. Every one is a gem; one can but marvel at the security of the singing through the enormous range; the concept of a tessitura as such hardly exists for a voice of such capabilities – things like the top Bs in the Semiramide aria are stunning. She is by no means all pyrotechnics and patter; she can do pathos, tenderness and grief equally feelingly, so arias such as “Di tanti palpiti” are simply delightful. Comparisons with Horne’s “Mura felici” are inevitable but happily both emerge with credit, even if Podleś skips the trill on “Elena”; the coloratura and the plunges into cavernous vocal depths in “O quante lagrime” are extraordinary. Her Rosina emerges as rather intimidating, it is true; even Callas, who could also be formidable, manages more charm – but as singing per se it is admirable.

A nice bonus is the provision of Italian texts and English translations. Conductor Morandi’s accompaniment with the Hungarian State Opera Orchestra and Chorus is alert and lively.

Contents:
L’Italiana in Algeri:
Cruda sorte! Amor tiranno! (Isabella)
Amici, in ogni evento m’affido a voi… Pensa alla patria (Isabella)
Semiramide:
Eccomi alfine in Babilonia… Ah! quel giorno ognor rammento (Arsace)
Tancredi:
Oh patria… Di tanti palpiti (Tancredi)
Maometto Secondo:
Non temer: d’ un basso affetto (Calbo)
La donna del lago:
Mura felici… Elena! oh tu, che chiamo! (Malcolm)
Il barbiere di Siviglia:
Una voce poco fa (Rosina)
La Cenerentola:
Naqui all’ affanno, al pianto (Cenerentola)

My survey of favourite recordings of Gluck operas covers two in which she appears:

Armida – 1996 (live composite); Archiv
Orchestra et Choeur des Musiciens du Louvre/Marc Minkowski

This is essentially a guest appearance – almost a cameo – about which I remark, “The introduction of Podleś as La Haine (Hatred) serves only to magnify the disjuncture between singing styles.” In all honesty, I found this recording so disappointing that I have not kept it on my shelves – but that is no reflection on Podleś herself. Her contribution is but a few minutes of singing but her voice embodies wrath and scorn perfectly.

Orfeo ed Euridice – 1998 – mixed 1762 Vienna & 1778 Paris version (live); Arts
Orquesta Sinfónica de Galicia/Peter Maag
Coro de la Comunidad de Madrid
Orfeo – Ewa Podleś
Euridice – Ana Rodrigo
Amor – Elena de la Merced

I quote here my original review:

This is a live recording employing more of a “period” sensibility in the size, sound and style of the orchestral playing – which is excellent, especially the raw horns (sample the “Danze delle furie” track 11, CD 2). Maag was a hugely experienced, versatile and, I would say, under-rated conductor. Set pieces are beautifully paced and played.  Apart from his spirited, generally sprightly direction, the main attraction here must – with no disrespect intended towards her co-singers – be the presence of the fiery Polish contralto superstar Ewa Podleś whose distinctive, smoky voice spanning three octaves and slight lisp make her instantly recognisable. Its dusky timbre certainly adds a masculine quality to her characterisation – and the resonance of her lower register is something to savour; just listen to her plunge deep into it at the end of track 13, “Piango il mio ben, così” and the coloratura pyrotechnics at the end of “Addio, addio, o miei sospiri” – extraordinary and greeted by thunderous applause. I’d own this set for those moments alone. I certainly drink in her sound while acknowledging that it is…unusual and the problem is that she is just so…formidable. I wonder if the true castrati sounded like her – poor things…

There is nothing wrong with the Amor and Euridice – they sing prettily but inevitably sound a bit small-scale when set against the force of nature which is La Podleś …the chorus is fine, too.

The recording quality is unexceptionable; you would hardly know this is live apart from the applause mentioned above and at the end.

This performing version omits all the ballet music except for the “Dance of the Furies” and the “Dance of the Blessèd Spirits”, concentrating on the vocal music, which might well suit some punters. If you love Podleś, you must have this for her vocal pyrotechnics, but to be moved, look to Baker and Verrett.

Handel: Arias From Rinaldo & Orlando – 2000 (studio); Delos
Moscow Chamber Orchestra/Constantine Orbelian

Again, we are given an hour of astonishing vocal pyrotechnics – and despite the smaller scale of the chamber orchestra here, the listener will be aware that no sound engineer jiggery-pokery of the kind which, for example, is employed to enhance Cecilia Bartoli’s small voice is required to boost Podleś’ sound. I like to make interesting comparison with accomplished countertenors like David Daniels in this repertoire and as much as I love his delivery, it has to be said that Podleś has the greater power and masculinity – and hence credibility – of tone; just listen to the sustained low F which concludes the opening aria, “Venti turbini”. Podleś Handel is so moving, too, as the subsequent “Cara sposa” confirms. The arias in Rinaldo – Handel’s first big Italian opera hit – are especially wonderful but the album as a whole is testimony to Handel’s inventive genius and Podleś’ supremacy in his music. Orlando enjoyed only a succès d’estime in Handel’s lifetime but its reputation has steadily risen in more recent years even if it is still only rarely performed.

Constantine Orbelian has been the conductor in recitals for many great voices on the Delos label and several others, and it shows; he is a most sensitive and energised accompanist.

Contents:
Rinaldo:
Venti, turbini, prestate le vostre ali a questo pie
Cara sposa, amante cara, dove sei?
Abbrucio, avvampo e fremo
E’ un incendio fra due venti
Ogni indugio d’un amante
Or la tromba in suon festante
Tale stupor m’occupa i sensi, e tale
Cor ingrato, ti rammembri
Il Tricerbero humiliato al mio brando render
Orlando:
Fammi combattere mostri e tifei
E questa la mercede Angelica spietata
Cielo! Se tu il consenti Deh! Fa’ che nel mio seno
Imagini funestre che turbate quest’alma
Non fu gia men forte Alcide
Gia lo stringo, gia l’abbraccio
Ah Stigie larve! Ah scelerati spettri
Gia latra Cerbero e gia dell’Erebo
Vaghe pupille, non piangete

Russian Arias – 2002 (studio); Delos
Philharmonia Of Russia/Constantine Orbelian

As much as I prize Podleś’ Handel and Rossini recitals, this is the album I would propose as distilling the essence of her art, even though it displays none of the coloratura agility for which she is justly celebrated.  She may have been Polish, but for me she embodies Russian melancholy, especially in the haunting beauty of opening item – Konchakovna’s Cavatina from Borodin’s Prince Igor, with its melodic and harmonic sidesteps and arresting dives into lower register – and the bleak desolation and anguish of the Young Maiden’s Lament – “On the Field of the Dead” – from Prokofiev’s Alexander Nevsky; only Elena Obraztsova matches her in both for depth of emotion.

The other items are interesting and some are decidedly rarities; I particularly enjoy her rendition of Joan of Arc’s aria from Tchaikovsky’s rarely staged The Maid of Orleans, Jocasta’s aria from Stravinsky’s Oedipus Rex is powerfully, compellingly sung and similarly Mussorgsky’s dour song cycle could hardly be more vividly dramatised or more expertly delivered.

Russian texts and English translations are provided in the booklet.

Contents:
Borodin: Prince Igor
Act II: Cavatina. Merknet svet dnevnoy [Daylight fades] [Konchakovna]
Prokofiev: Alexander Nevsky, Op. 78
IV. The Field of the Dead
Tchaikovsky: The Maid of Orleans, Op. 4, the Maid of Orleans
Act II: Aria. Da, chas nastal! Dolzhna provinovatsa nebesnomu velen’yu Ioanna
Tchaikovsky: Moskva Cantata (Moscow Cantata)
Mne li dolg velit stiag bor bi podniat [It is my duty to raise the banner of struggle]
Shchedrin: Ne tol’ko lyubov’ (Not for Love Alone)
Po lesam kudriavim, po goram gorbatim [Along the leafy forests, along the hump-backed hills]
Stravinsky: Oedipus Rex
Aria. Nonn’ erubescite, reges (Are you not at all embarrassed, princes)
Mussorgsky: Songs and Dances of Death
I. Cradle Song
II. Serenade
III. Trepak
IV. The Warrior

Ewa Podleś -Contralto – 2008 (live); Dux
Polish Radio Symphony Orchestra/Lukasz Borowicz

I  reviewed this in 2009; sadly, it is not one of her better recordings but I include it for interest:

I have been a great fan of Ewa Podleś ever since I discovered her voice in the early nineties. She is that rare thing: a real contralto d’agilità of ample volume, with a ringing top C and a thunderous lower register, as equally capable and thrilling in Rossini as she is in Verdi. I am ungracious enough to observe that she is now well into her fifties and a few signs of wear are creeping into that magnificent voice: there is a permanent huskiness, a more pronounced, glottal break between the two registers, and some looseness in its vibrations. Nonetheless, this is still a fine instrument and Madame Podleś can still deliver, as the response of her audience confirms. I’m not sure, however, about the programme recorded here: a concert performance with the Polish Radio Symphony Orchestra on 14 December 2008 to celebrate, of all things – and I quote: the “Bicentenary of the Faculty of Law and Administration of the University of Warsaw”. The fold-out CD wallet with full notes (biographies, synopses and libretto) is attractively produced and clearly neither the university nor the label, Dux, spared any expense, but a programme with a rather obscure Haydn cantata at its centre as the most substantial piece might constitute as great a deterrent as it would an inducement for some prospective purchasers. Having said that, “Arianna a Naxos” was considered good enough by Janet Baker for an early Philips recital disc with Leppard and the ECO, so who am I to argue, even if I don’t find it enthralling? The slight peculiarity (eclecticism?) of the programming is compounded by the selection of an overture by Beethoven, two by Rossini, two arias by Rossini, one by Verdi and another by Donizetti. Hmmm…but why not, you may ask? Well; you can catch Podleś in better, more youthful voice singing the heck out of Rossini in her 1995 studio recital for Naxos or on her later Dux Rossini disc and the playing in the orchestral items is pleasant if undistinguished. It is also a little odd and frustrating to hear the extended martial passage leading into “Stride la vampa” played by the orchestra but with no chorus – so no lusty cries of “La zingarella!”

All in all, I am not quite sure why this disc exists except as memento of a Warsaw event and as a chance to hear the great Podleś briefly as Azucena and in Orsini’s toast, a number made famous by illustrious predecessors such as Dame Clara Butt, Sigrid Onégin and Marilyn Horne – and, I must admit, rather better sung by all of them than it is here. Fans of Ewa Podleś might consider the slightly meagre helping of their idol on offer here worth the full cost of this import but I shall return to those discs which preserve her at her very best.