Deeply fond as I am of opera, I have to confess that I hadn’t heard of Colbran before discovered the album Colbran, the Muse.
I was both ashamed of my ignorance on this point and deeply curious about the identity of the said muse. Judging by the name of the album it was a person who must have inspired Rossini for some time or for life. Thus, before talking about the album itself, it was necessary to find out all I could about the mysterious Colbran.
Isabella Colbran was a famous Spanish opera singer known in her native country as Isabel Colbrandt. Colbran inspired Rossini and apparently collaborated with him in the creation of a number of roles for his world-famous operas. He worshipped her from afar for some time, so the word goes, and after a while they got married — she was 32 and he was 25 at the time.
It is also thought that shortly after their marriage Colbran’s voice significantly deteriorated. However, before it did so, Rossini composed a number of roles designed specifically for her voice, such as the title role of Elisabetta, regina d’Inghilterra («Elizabeth, Queen of England»), the role of Desdemona in Otello, ossia il Moro di Venezia. Colbran also made outstanding performances of Armida (Armida), Elcia (Mosè in Egitto), Zoraide (Ricciardo e Zoraide), Ermione (Ermione), Elena (La donna del lago), Anna (Maometto II), and Zelmira (Zelmira), all written for her by Rossini.
Historians are not quite certain what kind of voice she had — many are inclined to believe that she had a dramatic coloratura soprano but some think that she was a mezzo-soprano with a high extension, a soprano sfogato. It is known, however, that her vocal range extended from F-sharp below the staff to E above, with a high F sometimes available.
Be that as it may, Rossini’s music for Isabel Colbran suggests perfect mastery of trills, half-trills, staccato, legato, ascending and descending scales, and octave leaps.
Thus, very few opera singers have been able to do full justice to Rossini’s compositions for her, as the said compositions are extremely complex and require a high mastery of various vocal techniques. Some singers are or have been remarkable in several Rossini’s operas, but DiDonato may well be The best Rossini’s singer, as her repertoire contains a long list of roles from his operas, all very skillfully and tastefully performed, and at an impressively high level both vocally and artistically.
In this album Colbran, the Muse, DiDonato has shown a great talent, perhaps even a genius of belle canto. It is definitely one of her best albums so far, amazing as they all are.
The album itself contains 16 tracks, which are extracts from La donna del lago, Otello and Armida, Semiramide, Maometto II and Elisabetta, reginad’Inghilterra. And what is special about the album is the strong, compelling voice of DiDonato, her ability to live and believe in what she sings. The most demanding opera critics cannot complain here — DiDonato’s vocal technique is amazing. She is perfect in her mastery of trills and half — trills, octave leaps, ascending and descending scales — there is nothing she can’t handle in the music Rossini composed for Colbran.
Likewise, the conductor Edoardo Müller and the Orchestra dell’Accademia Nazionale di Santa Cecilia did an impressive amount of work and the result is absolutely delightful. They approach every bar of their music with attentive dedication and a scrupulous sense of ensemble dynamics. The chorus was excellently drilled by Müller, so that it never sounds too far away, nor covers the diva’s voice. And the overall effect from the collaboration of the singer, the conductor, the orchestra and the chorus is simply outstanding — they are one whole, they are the essence of belle canto music.
Joyce DiDonato — she is light, she is daring, she is infinitely charismatic and the quality of her performance is sublime. She Is the modern Muse of Rossini.
With this album DiDonato has strengthened her position in the music world as The Opera Diva of the 21st century. Bravo!