Composer: Filippa Giordano
Works: Casta Diva (Short version), S’apre per te il mio cuor, Vissi d’arte, Habanera, O mio babbino caro, Ave Maria, Addio del passato, Lost boys calling, You are the one (sotto le stelle), Dissonanze (Mondo trash), Maria (By the sea), Casta Diva (Extended version)
Performers: Filippa Giordano (soprano), London Session Orchestra
Recording: Recorded and mixed at Fonoprint Studios, Bologna; Angel Studio, Air Lyndhurst Studio, Whitfield Street Recording Studio, and Abbey Road Studio, London
Label: WARNER ERATO
Filippa Giordano, a soprano often straddling the boundaries of classical and popular music, presents a collection of beloved arias and songs that demonstrate her vocal prowess and stylistic choices. This album features a mix of classical opera excerpts and contemporary compositions, revealing the artist’s dual heritage as both an opera singer and a pop performer. Although her interpretations of iconic pieces such as “Casta Diva” and “Habanera” promise a fresh take, they simultaneously provoke questions about authenticity and stylistic fidelity within opera’s rich traditions.
Giordano’s vocal technique is characterized by a youthful, sultry quality that occasionally veers into an overly affected delivery. This is particularly evident in her interpretation of “O mio babbino caro,” where her mid-range is bright and engaging, yet her higher notes often lack the commanding presence that the aria demands. The emotional depth of Puccini’s text feels somewhat diluted when presented with her frequent shifts into a husky, almost breathy timbre. The more robust moments, such as those found in “Lost Boys Calling” or “You Are the One,” showcase her ability to deliver a powerful sound; however, such moments are inconsistently realized across the album.
The orchestral accompaniments, arranged by Marco Sabiu and Celso Valli, employ a contemporary sound palette that blurs the lines between classical and popular music. While the lush electronic arrangements offer an updated context for these well-trodden melodies, they also detract from the operatic essence of the original works. For instance, the lush orchestration of “Vissi d’arte” risks overshadowing the intrinsic emotional weight of the aria. The engineering quality is commendable, with a polished sound that highlights Giordano’s voice effectively, though one wonders if the sonic enhancements might be seen as a crutch rather than an artistic choice.
Comparatively, when juxtaposed with other contemporary renditions of these arias, Giordano’s interpretations feel less rooted in the operatic tradition. Artists like Anna Netrebko or Renée Fleming, for instance, manage to maintain the gravitas of the original scores while infusing their renditions with personal artistry. Giordano’s interpretation often flirts with an overly simplistic approach, where the emotional complexities of the characters and their circumstances are glossed over in favor of vocal embellishment.
The final selection of the album, the extended version of “Casta Diva,” encapsulates both the strengths and weaknesses of Giordano’s artistry. Here, her vocal agility shines, yet the overall interpretation lacks the nuanced gravitas that the work demands. The seamless transitions between the electronic and orchestral elements create a compelling listening experience, yet it does so at the cost of operatic authenticity.
Giordano’s latest offering is undoubtedly a testament to her talent and appeal, particularly for listeners who favor a contemporary spin on classical repertoire. While her voice possesses a captivating allure, the overall artistic integrity is muddled by a lack of adherence to operatic conventions. This album is better appreciated as a fusion of genres rather than a straightforward operatic endeavor, allowing listeners to engage with both the familiar and the novel, albeit with a caveat regarding the depth of interpretation expected from the traditional operatic canon.
