Ruth Ann Swenson & coloratura
Casey
say, most of it was not to my liking. The way many of them
violently rolled their 'r's, and the way many of them vocalized
certain sounds turned me off. Obviously I'm never going to be
a big opera fan. Then I bought a CD from Ruth Ann Swenson,
Italian Opera Arias. I don't pretend to know what a coloratura
is, but Swenson's voice is much more to my liking. Someone
here posted that Swenson is often dull (or something like that).
Here are my questions. Are all coloraturas this "dull", with less
violent enunciation? Or is it just Swenson? Is her Positively
Golden CD similarly "dull"?
Casey
David7Gable
I've heard Ruth Ann Swenson as Anne Trulove in The Rake's Progress and as
Norina in Don Pasquale, both with the Chicago Lyric Opera. I thought she was
delightful on both occasions. I can imagine a singer with more personality in
her singing, but I can also imagine singers with less. Then, too, Ann Trulove
is "such a good girl," as Auden once wickedly remarked, and the role was
tailor-made for her. But her Norina was reasonably high spirited. What I
appreciate even more than the bright clear, rather pure voice revealed in her
singing is her good ear and musicianly approach. But I'd rather hear a Callas,
Gencer, Albanese, de los Angeles, or Scotto as, say, Violetta. Somebody less
like the nice sweet girl next door, somebody more passionate and mature. Read
"expressive." For that matter, I think Alda Noni and Bruna Rizzoli, for
example, are much more distinctive Norina's, good as Swenson was.
Don't rule out the possibility that you will encounter more "violently"
expressive singers whom you will like. Or come to like.
-david gable
Simon Roberts
She's fairly consistent on recordings. If you like her "dullness" here you'll
like it there. She's a bit more characterful live.
Simon