Composer: Various
Works: John Dowland – Come again: sweet love doth now invite; Henry Purcell – Thy hand Belinda; When I am laid in earth; Johann Sebastian Bach – Heute noch, lieber Vater, tut es doch; Giovanni Pergolesi – Stabat Mater; Wolfgang Amadeus Mozart – Alleluia; Laudate Domine (Vespers K339); Deh, vieni, non tender (Le Nozze di Figaro); Ach, ich fühl’s (Die Zauberflöte); Gaetano Donizetti – Chiedi all’aura lusighiera (L’elisir d’amore); Robert Schumann – Mondnacht (Liederkreis, Op. 39); Eduard Grieg – Solveig’s Sang (Peer Gynt); Jean Sibelius – Var det en dröm? (Op. 34, No. 10); Flickan kom ifrån sin älsklings möte (The Tryst Op. 37, No. 5); Richard Strauss – Morgen (Op. 24, No. 4); Mir ist die Ehre widerfahren (Presentation of the Rose – Der Rosenkavalier); Alban Berg – Die Nachtigall (Sieben frühe Lieder); Carl Orff – In trutina (Carmina Burana); Andrew Lloyd Webber – Pie Jesu (Requiem); André Previn – Vocalise
Performers: Barbara Bonney (soprano), Jacob Heringman (lute), Academy of Ancient Music, Christopher Hogwood, Orchestra of the Age of Enlightenment, Gustav Leonhardt, Andreas Scholl – Les Talens Lyriques, Christopher Rousset, The English Consort, Trevor Pinnock, Drottingholm Court Theatre Orchestra, Arnold Ostmann, Gosta Winberg – Orchestra del Maggio Musicale Fiorentino, Gabriele Ferro, Vladimir Ashkenazy, Gothenburg Symphony Orchestra, Neeme Järvi, Antonio Pappano, Malcolm Martineau, Susan Graham – Wiener Philharmoniker, Christoph Eschenbach, Royal Concertgebouw Orchestra, Riccardo Chailly, Choir of Uppingham School, Daniel Phillips – English Sinfonia, Neil Page, Andre Previn, Sato Knudsen
Recording: Various locations from 1988 to 2001, all previously released except 12
Label: DECCA
The compilation “The Radiant Voice of Barbara Bonney” presents an extraordinary tapestry of vocal music spanning over four centuries, showcasing the remarkable artistry of one of today’s preeminent sopranos. The selections, ranging from the poignant melancholy of Dowland to the modern lyricism of Previn, illustrate not merely the breadth of Bonney’s repertoire but also the evolution of vocal expression across musical epochs. This anthology serves not only as a testament to Bonney’s technical prowess but also as an insightful journey through the development of Western classical music.
Bonney’s interpretations are consistently marked by a purity of tone and an exquisite control that allows her to navigate the intricate emotional landscapes of each piece with remarkable finesse. In Dowland’s “Come again,” her voice intertwines seamlessly with Jacob Heringman’s lute, creating a delicate dialogue that harkens back to the Elizabethan age. Here, her phrasing exhibits a subtlety that captures the essence of longing inherent in the text. Similarly, in Purcell’s “When I am laid in earth,” Bonney’s ability to convey deep sorrow is enhanced by her impeccable legato and nuanced dynamic shading, transforming a well-trodden aria into a deeply personal lament.
The recording quality across the disc is commendable, with each track benefiting from a clarity that allows Bonney’s voice to shine unimpeded. The collaborations with various orchestras, whether the period instruments of the Academy of Ancient Music or the lush soundscapes provided by the Gothenburg Symphony Orchestra, demonstrate the versatility of both Bonney and the accompanying ensembles. The engineering captures not only the brilliance of Bonney’s soprano but also the rich harmonic textures of the orchestras, particularly in the lush orchestration of Berg’s “Die Nachtigall,” where Bonney’s voice emerges as a radiant focal point amidst the orchestral tapestry.
While Bonney’s performance of Orff’s “In trutina” may seem slightly too refined for this raucous choral work, it is nonetheless delivered with grace and conviction, showcasing her ability to adapt her expression to the demands of different styles. The juxtaposition of her interpretations of traditional works alongside contemporary pieces, such as Lloyd Webber’s “Pie Jesu,” further underscores her versatility. Bonney’s nuanced understanding of the emotional core of each piece is evident, making her renditions resonate with authenticity.
The inclusion of the previously unreleased excerpt from Strauss’s “Der Rosenkavalier” is a particularly delightful addition, allowing listeners to appreciate Bonney’s portrayal of Sophie in a new light. The aria “Mir ist die Ehre widerfahren” is delivered with youthful exuberance and a stunning clarity that reinforces Bonney’s status as one of the leading sopranos of her generation.
This collection is not merely a compilation but a well-curated showcase that encapsulates the essence of Barbara Bonney’s extraordinary talent. Each track, selected from various recordings, allows listeners to experience the evolution of her artistry while illuminating the rich tapestry of classical vocal music. For those who may not own the complete operatic or song cycles from which these selections are drawn, this disc stands as a compelling invitation to explore the depths of Bonney’s artistry and the beauty of the repertoire she so masterfully interprets.
