Composer: Mozart
Works: Arias from Die Zauberflöte, Die Entführung aus dem Serail, and Così fan tutte; Exsultate, jubilate, K. 165
Performers: Aga Winska (soprano), Warsaw Philharmonic Orchestra/Wojciech Michniewski
Recording: Warsaw Philharmonic Hall, 1990
Label: Pavane Records ADW 7289
Mozart’s operatic and sacred works have long been celebrated for their intricate vocal lines and dramatic depth, reflecting the composer’s unique ability to blend emotional narrative with technical brilliance. This recording features soprano Aga Winska executing a selection of Mozart’s most demanding arias, showcasing her prowess in the coloratura repertoire. The 1990 recording, made in the acoustically rich Warsaw Philharmonic Hall, provides an appropriate backdrop for the exploration of these timeless pieces, which range from the stratospheric demands of the Queen of the Night in Die Zauberflöte to the lyrical complexity found in Exsultate, jubilate.
Winska’s interpretation begins with the formidable arias “Der Hölle Rache” and “O zittre nicht,” both of which require not only technical mastery but also dramatic intensity. Her ability to navigate the high tessitura is commendable, although there are moments where one might perceive a slight abbreviation in phrasing. Such moments, while minor, hint at the relentless demands of the role, where breath control is paramount. Nevertheless, her articulation of the coloratura passages is commendable, displaying clarity and precision that evoke the character’s fierce emotional landscape.
With the three arias from Die Entführung aus dem Serail, Winska further demonstrates her vocal versatility. In “Martern aller Arten,” the challenges of the high-lying tessitura are met with confidence, and she successfully conveys the emotional weight of Konstanze’s predicament. Notably, her interpretation does not shy away from the dramatic intent of the text, allowing the listener to grasp the character’s desperation and resolve. The contrasting demands of Fiordiligi’s “Come scoglio” from Così fan tutte reveal a different facet of Winska’s artistry. Here, the need for seamless transitions between registers is well met; the passaggio feels fluid and unencumbered, and her declamatory phrases resonate with strength and character.
In the Exsultate, jubilate, Winska stands amidst a competitive field of celebrated sopranos. Her performance is marked by a robust vocal presence, although the occasional aspiration in the runs can detract from the overall fluidity of the phrases. Yet, even in this, one can appreciate her dynamic control and the expressive quality she brings to the text.
The recording quality is exemplary, with the orchestral accompaniment under Wojciech Michniewski being both supportive and well-balanced. The clarity of the sound allows Winska’s voice to shine, placed comfortably within the orchestral texture, which is crucial for highlighting the nuances of her performance. The acoustic of the Warsaw Philharmonic Hall lends a natural resonance that enhances the listening experience, ensuring that each note is articulated with the necessary clarity and warmth.
Aga Winska’s performance on this disc not only affirms her capabilities as a coloratura soprano but also suggests a promising trajectory for her career. The thoughtful interpretations, coupled with a solid technical foundation, indicate a singer who has the potential to flourish in an increasingly demanding operatic landscape. Given the limited duration of the recording, one is left yearning to hear her in additional Mozart roles, such as Susanna or Pamina, where her strengths could further illuminate the subtleties of these beloved characters. Overall, this recording stands as a testament to Winska’s artistry, encapsulating the essence of Mozart’s vocal writing while offering an engaging listening experience.
