Bel Canto - Simone Kermes

Bel Canto

Simone Kermes

  • Genre: Classical
  • Release Date: 2013-10-18
  • Explicitness: notExplicit
  • Country: USA
  • Track Count: 13

  • ℗ 2013 Sony Music Entertainment
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Tracks

Title Artist Time
1
Virginia: Icilio io l'amo (Ari Simone Kermes, Concerto Köln & Christoph M. Mueller 4:12 DOWNLOAD
2
Maometto secondo: Giusto Ciel, Simone Kermes, Concerto Köln & Christoph M. Mueller 3:25 DOWNLOAD
3
Die Zauberflöte, K. 620: O zi Simone Kermes, Concerto Köln & Christoph M. Mueller 4:55 DOWNLOAD
4
Die Zauberflöte: Der Hölle R Simone Kermes, Concerto Köln & Christoph M. Mueller 2:54 DOWNLOAD
5
Norma: Casta Diva (Arie der No Simone Kermes, Concerto Köln, Christoph M. Mueller & Martin Sandhoff 6:38 DOWNLOAD
6
Betly, o la capanna svizzera: Simone Kermes, Concerto Köln & Christoph M. Mueller 5:52 DOWNLOAD
7
Linda di Chamounix: Ah! Tardai Simone Kermes, Concerto Köln & Christoph M. Mueller 5:03 DOWNLOAD
8
I Masnadieri: Tu del mio Carlo Simone Kermes, Concerto Köln & Christoph M. Mueller 8:50 DOWNLOAD
9
Adelson e Salvini: Dopo l'oscu Simone Kermes, Concerto Köln & Christoph M. Mueller 5:11 DOWNLOAD
10
Semiramide: Bel raggio lusingh Simone Kermes, Concerto Köln & Christoph M. Mueller 6:47 DOWNLOAD
11
Atilla: Santo di patria indefi Simone Kermes, Concerto Köln & Christoph M. Mueller 5:33 DOWNLOAD
12
Scherzi Musicali: Si dolce è Simone Kermes & Gabriele Palomba 4:04 DOWNLOAD

Reviews

  • Welcome Change of Pace!

    4
    By divapro87
    I've been a huge fan of Simone Kermes in baroque repertoire, so I was both delighted and apprehensive to see her trying these later works. I should note that there a few strange programming choices - the Mercadante is basically a cabaletta performed without its preceding aria (Sulle materne ceneri), the Norma is only the prayer performed without cabaletta (Ah, bello a me ritorna), and both are performed without chorus. However, the Masnadieri and Atilla are performed with both cavatina and cabaletta (and both verses at that!) We also get no anonymous singers to fill in the bridging parts, but that's certainly not unusual in studio settings. To me, there is only one questionable piece (the Atilla aria really shows how light and small the voice is), yet even here her solid musicality and technique are much in evidence, as in the other pieces. The slow arias are true showcases for her effortless long phrasing (the Norma is amazing!) and she inflects the words tellingly (especially in the Monteverdi) Her coloratura in perfectly sound and her baroque background ensures that second verses are interestingly ornamented. The Mozart is predictably good, although a slight tendency to peck at notes is evident (not helped by the fast tempi, either). As much as I enjoyed this disc, I have a difficult time imagining that the voice is substantial enough to take on these roles in the theater. Still, Kermes cannot help but be fascinating, so enjoy the ride!

  • Excellent!

    5
    By Adam Soleil
    Although this is not Kermes' usual repertoire, she delivers vocal beauty and perfect technical command of her instrument The voice does not (commonly) fit well in pieces for a dramatic-sized voice, but she somehow is capable of overcome the difficulties And deliver great performances that stand entirely on their own.

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