Related Reviews
MusicWeb International
Recording of the Month: 'I almost passed this by, thinking that I didn't need another collection of Mozart arias and overtures: I was very wrong...it's the quality of the singing that ultimately persuaded me to make this a Recording of the Month.'
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Gramophone
'The track that moved me most of all was the exquisite minuet song in which Servilia pleads to Vitellia to confess her guilt to the Emperor Titus – [Watts] vindicates [her broad tempo] with the mingled grace and unexaggerated fervour of her singing, the orchestra swelling and ebbing in delicate sympathy.'
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Classical Candor
'Baldini and soprano Elizabeth Watts handle the arias exquisitely. I also loved the precision and poise of the Scottish Chamber Orchestra, who never fail to impress me with their devotion to the music.'
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The Observer
4 Stars
'a thrilling compilation'
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BBC Radio 3 ‘CD Review’
‘Soprano Elizabeth Watts in radiant form in arias across a half-dozen Mozart operas, each preceded by its overture from the Scottish Chamber Orchestra, conducted by Christian Baldini in the semi- historically informed mode familiar from the orchestra’s Mozart symphony recordings with Sir Charles Mackerras. In fact I think this makes a lovely adjunct to those recordings. Beautifully recorded as well.’
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Sinfini Music
4 Stars
'Thrilling playing from the Scottish Chamber Orchestra make this an essential disc in a crowded market, says Alexandra Coghlan, who enjoys this whistle-stop tour around Mozart's operas.'
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SA-CD.net
5 Stars
'Wherever you dip into this disc you will find singing of great character, freshness and refinement that marks out all of Elizabeth Watts' performances, making this a disc to return to often with much pleasure. Highly recommended.'
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The Sunday Times
'Watts is a rising British talent in this repertoire.'
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SA-CD.net
'A lovely recording...'
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Pizzicato
,,Elizabeth Watts...hat sich zu einer guten Mozart-Interpretin entwickelt. Ihre warme Stimme eignet sich bestens für die Susanna-Arie aus den ‘Nozze di Figaro’, und sie entwickelt dramatische Kraft und hoch geputschte Emotionalität in der Ilia-Arie aus ‘Idomeneo’.''
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McAlister Matheson Music
'I find something fresh in these seductive performances each time I hear them. This is another winner for Linn and the SCO.'
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AllMusic
4½ Stars
'[Watt's] bright and flexible voice is wonderful in Mozart...This disc invites repeated listening and is highly recommended.'
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Classic FM
Album of the Week: 'A really original idea.'
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Scottish Chamber Orchestra - Mozart: Opera Arias & Overtures - BBC Music Magazine


01 September 2015
BBC Music Magazine
David Nice
5 Stars

Recording of the Month

Performance: 5 stars

Recording: 5 stars

Soprano Elizabeth Watts gets to the heart of Mozart in a sparkling recording of arias and overtures, performed with the Scottish Chamber Orchestra under Christian Baldini

‘perfect candoour': Elizabeth Watts is spot on as Figaro's Susanna

 

Mozart packed with character

Elizabeth Watts hits new heights with this superb disc

An interweaving of Mozart overtures and (mostly) well-known arias could be a recipe for the conventional or anodyne, but this disc is neither of those thanks to the fresh approach of its exceptional soprano, orchestra and conductor. It would work as a straight concert, and you can play it all through at one sitting without ever tiring at Mozart's resourcefulness.

She may look demure, but Elizabeth Watts, or rather at least one of her Mozart heroines, can be a tigress when roused: try the bold rasps on 'carnefici spietati' ('ruthless butchers') in the abbreviated recitative to the first aria in Idomeneo.  And you thought Ilia, the sweet Trojan princess, was just a good girl. If that's how Watts started out, this disc shows, and in supremely vivid sound, that a delightful light lyric soprano is on the cusp of becoming something greater. That, and comparisons with the best Mozartians, is probably why it seems a waste to give us a rather indifferent aria, from La finta giardiniera instead of Pamina's 'Ach, ich fühls' or Elvira's 'Mi tradi'. Even Donna Anna would be possible on CD, if not yet (or ever) on stage. Still, we can be more than thankful for what we've got.

That the overtures are as much of a pleasure to listen to as the arias is thanks to the exceptional qualities of the Scottish Chamber Orchestra (SCO) under conductor Christian Baldini - never rushing, usually finding the perfect tempo in common with his and Robin Ticciati's predecessor in perfect SCO Mozart, Sir Charles Mackerras.

Woodwinds are clear and characterful, the approach to Don Giovanni and his Stone Guest is authentically brisk but not lacking in fangs and the strings sound especially bright in the jubilant bells of the Clemenza di Tito Overture.

Our diva has no truck with mere prettiness, just perfect candour as Susanna (The Marriage of Figaro) - she is breathtaking in the last two phrases of an unfussily begun 'Deh vieni non tardar' as she moves into a midsummer night's dream - as Zerlina (Don Giovanni), with exquisite cello obbligato, and as an unusually serious Servilia (La clemenza di Tito). Watt's discreet ornamentation, unforced tone and careful vocal emphasis all seem nigh-on perfect.

The biggest comes last: Fiordiligi's aria 'Per pietà', perhaps the deepest point of Così fan tutte, with, I presume, period-instrument horns (don't worry, they're meant to sound like that). It's the best demonstration of the direction in which one of the UK's most profoundly musical and surprising singers is heading.  For her next recording, Watts has been researching the vocal music of Alessandro (not Domenico) Scarlatti. That should be quite something.


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Christian BaldiniChristian Baldini
Elizabeth WattsElizabeth Watts
Scottish Chamber OrchestraScottish Chamber Orchestra
Mozart: Opera Arias and OverturesMozart: Opera Arias and Overtures