Composer: Suzanne Danco
Works: 1. Henry Purcell: When I am laid in earth ( Dido and Aeneas)
2. Christoph Willibald Gluck: Divinités du Styx ( Alceste)
3. Wolfgang Amadeus Mozart: Voi che sapete ( Le Nozze di Figaro)
4. Wolfgang Amadeus Mozart: Come scoglio ( Cosi fan tutte)
5. Giuseppe Verdi: Ah, fors’e lui ( La Traviata)
6. Jules Massenet: Adieu, notre petite table ( Manon)
7. Georges Bizet: Je dis que rien ne m’épouvante ( Carmen)
8. Gustave Charpentier: Depuis le jour ( Louise)
9. Richard Strauss: Morgen, Op. 27, No. 4; Ständchen, Op. 17, No. 2; Traum durch die Dämmerung, Op. 29, No. 1; Zueignung, Op. 10, No. 1; Freundliche Vision, Op. 48, No. 1
10. Claude Debussy: Ariettes oubliées
Performers: Suzanne Danco (soprano), Guido Agosti (piano), L’Orchestre de la Suisse Romande, conducted by Alberto Erede and Jonel Perlea
Recording: Victoria Hall, Geneva (April 1950, July 1947, October 1952); Decca Studios, West Hampstead, London (December 1950)
Label: Decca
Suzanne Danco’s artistry emerges vividly in this collection, which encapsulates the essence of her vocal prowess and interpretative depth. Danco, a stalwart of the mid-20th century operatic landscape, is celebrated here through a thoughtfully curated selection of arias that traverse the operatic canon from Purcell to Debussy. The historical context of these works, spanning centuries and styles, allows listeners to appreciate both the evolution of the operatic form and Danco’s adeptness in navigating these diverse idioms.
The performance begins with Purcell’s “When I am laid in earth,” where Danco’s voice floats above the orchestration with an ethereal elegance. Although some may find the tempo languid, her ability to spin exquisite melodic lines underscores her mastery of phrasing. The transition to Gluck’s “Divinités du Styx” reveals a more intense emotional landscape, where Danco’s dramatic engagement is palpable. The sense of command and urgency she brings to this aria is striking and marks a significant interpretative choice that showcases her versatility.
Danco’s Mozart selections, particularly “Voi che sapete” and “Come scoglio,” reflect her stylistic range. The former is characterized by a lyrical sweetness, while the latter presents a more formidable display of vocal fortitude. Here, the absence of overt Italianate warmth, noted by critic Alan Blyth, does not detract from the convincing nature of her interpretation; rather, it adds a unique clarity that highlights Mozart’s intricate text-setting.
In the French repertoire, Danco is undeniably on home turf. Her rendition of Massenet’s “Adieu, notre petite table” is poignant, marked by a delicate interplay of ardor and vulnerability. The Carmen excerpt illustrates her ability to convey character through vocal color, and the richness of her tone in Charpentier’s “Depuis le jour” is simply ravishing. These performances exemplify her deep emotional connection to the music, enhancing the dramatic narrative through her nuanced delivery.
The Strauss selections are a revelation, showcasing Danco’s foray into the lieder genre. She navigates the lyrical demands of “Morgen” with a serene floating quality, while “Zueignung” builds to an ecstatic climax that highlights her technical command. The performance of the “Ariettes oubliées” by Debussy stands out as the crowning achievement of the collection. Danco’s mastery of the idiom is apparent in her ability to infuse Debussy’s elusive harmonies with palpable emotion and tonal richness, demonstrating profound understanding and artistry.
However, the sound quality of the recordings presents a mixed experience. While Danco’s voice remains prominent, the orchestral textures occasionally suffer from the limitations of the recording technology of the time. The upper strings and woodwinds, particularly, exhibit a thinness that detracts from the overall richness expected from the orchestral accompaniment. The discrepancies in sound quality between the Mozart selections further highlight the variances in recording techniques, with “Voi che sapete” presenting a more favorable sonic landscape compared to the harsher “Come scoglio.”
The presentation of the CD, while informative, could be improved by providing traditional text and translations rather than relegating them to a CD-ROM format, which may alienate some listeners. Nevertheless, the performances themselves are exemplary, allowing Danco’s artistry to shine through unimpeded.
Suzanne Danco’s contributions to the operatic stage and song repertoire are undeniably significant, and this collection serves as a testament to her remarkable range and interpretative depth. The CD is an essential addition for those who wish to explore the artistry of one of the 20th century’s finest sopranos, presenting performances that resonate with both historical significance and enduring emotional power.
