Ewa at the Met

Delos Insider

One-of-a-kind contralto, Ewa Podles (on Delos: Handel Arias DE 3253, Russian Arias DE 3298), rarely appears in American operatic productions. Her name crops up frequently in programs from European houses, but her unique mahogany-hued voice seems to present a roadblock to American producers. Ewa's presence, even in a small role, usually ends up dominating the entire stage, much to the discomfort of some other singers.

The new Metropolitan Opera brochure detailing the 2008-2009 season contains a surprise. Ewa will finally be singing again at the Met. Perhaps to quiet the insistent clamor of requests from rabid opera fans who crave any work that includes a battle of competing divas, the Met is reviving its venerable production of Ponchielli's "La Gioconda," a supreme example of the "diva-battle" genre. Three principal roles include: La Gioconda, soprano; Laura Adorno, mezzo-soprano; and La Cieca, Gioconda's blind mother, contralto.

Listed are Deborah Voigt, Susan Graham and Ewa Podles. A simple deduction leaves the blind-crippled mother-with-the-big-voice role to Ewa. Poor Cieca is falsely accused by practically everyone in Venice of being a sorceress or witch. In spite of flourishing her rosary beads to no avail she ends up being drowned by the opera's arch villain, Barnaba.

Whatever vocal opportunities the role affords we can be sure that Ewa will make the most of them. As a supreme scene-stealer in any role she tackles (even Erda!), Podles will probably make the minor role of La Cieca into a major reason to see and hear La Gioconda

Hvorostovsky Tours America

Artist News

The great Russian baritone Dmitri Hvorostovsky set a new record for himself and for his legendary performances of Russian music during the month of November and early December 2007. In appearances with the Moscow Chamber Orchestra, conducted by Constantine Orbelian, the Academy of Choral Art and the Style of Five folk ensemble, he literally barnstormed Mexico, the USA, and Canada from coast to coast in a series of concerts that included highlights from all phases of his extensive repertoire.

In cities extending from Berkeley-San Francisco, Pasadena-Los Angeles, Dallas and New York City to Miami, Washington DC, Montreal Toronto, Chicago and Boston, Hvorostovsky gave full-length programs ranging from Russian liturgical classics and opera arias to popular Russian songs and romances so beloved by his countrymen. Large audiences of opera and vocal fans filled the auditoriums as well as multitudes of expatriate Russians who showed up in every city, delighted to hear near-ideal interpretations of many of their favorite popular songs from the homeland.

American reviewers, while recognizing that Dmitri has become the world’s foremost champion of Russian Soul in song form, don’t quite understand the importance of the popular song or “romance” in Russian life. Most of us have fond memories of the favorite popular songs of our youth, but few Americans feel the intense emotional attachment Russians continue to have for their own sentimental songs, many based on beautiful Russian poetry. Perhaps because so many of these songs are associated with the sorrow and tragedies of the early part of the 20th century, they have imprinted themselves indelibly in Russian hearts and minds as important documents and milestones in their lives and loves.

Dmitri Hvorostovsky and his own family share these feelings with their countrymen. By bringing his vocal artistry to this very special repertoire, he gives these sometimes happy, often sad, simple songs a dignity and integrity as moving as almost anything in the classic literature.

Of course every tour program included an array of Dmitri’s signature opera arias: from Tchaikovsky’s “Eugene Onegin” and “Queen of Spades” as well as lesser-known arias from operas by Rimsky-Korsakov, Rachmaninoff, and Borodin. "His interpretation of the arias of Rimsky-Korsakov, Mussorgsky and Tchaikovsky are now trademarked with the DH insignia," remarks Orbelian, his collaborator in many performances and recording projects.

For music lovers appreciative of Dmitri Hvorostovsky’s art but unable to attend any of these gala events there are attractive alternatives on the Delos label. A stunning DVD, To Russia with Love, documents a live concert in St. Petersburg in which Mr. Hvorostovsky sings many of the same Russian romances and songs he featured on his recent tour. Strikingly photographed before a live audience, it should not be missed.

Heroes and Villains, Dmitri’s new aria recording (DE 3365) becomes the eighth in the Delos series featuring many facets of his supreme art. These include Verdi Arias (DE 3292), Passione di Napoli (DE 3290), Moscow Nights (DE 3339), Where are You, My Brothers? (DE 3315), I Met You, My Love (DE 3293), Sviridov’s Petersburg (DE 3311), and Tchaikovsky’s Queen of Spades (DE 3289).

San Francisco: “Hvorostovsky and his perfect control of a beautiful expressive baritone voice was the brilliant star of the show.” — San Francisco Classical Voice, Stefanie Friedman

Dallas: “Few singers nowadays have Hvorostovsky’s command of legato line and phrasing. His burnished tone and extraordinary breath control were thrilling.” — Dallas Star-Telegram, Matthew Erickson

Boston: “…immensely smooth and deep, full and agile, never forced or strained.” — Boston Globe, Jeremy Eicher

Montreal: “Hvorostovsky carries the big line with an intense arresting tone and heartbreaking dignity. Here was great music sung by an operatic top gun. Shivers were inevitable.” — The Gazette, Arthur Kaptainis

New York: “Chaliapin, Kipnis, Christoff, Ghiaurov, Hvorostovsky. The lineage of Eastern European male singers in the West remains unbroken. He is that rare Bird of Paradise, a natural baritone &$133;as good a singer as appears on any modern stage.” — New York Sun, Fred Kirshnit

New York: “Mr. Hvorostovsky was in splendid voice, singing with the improbable smoothness and cultural delivery that still makes listeners roll their eyes in wonder.” — New York Times, Bernard Holland

Chicago: “He is among the very few opera singers to have made it onto People magazine’s annual list of the world’s most beautiful people. If you add the sheer richness and beauty of his baritone and his gift for lofting long-spun phrases you have a winning combination.” — Chicago Tribune, John von Rhein

Miami: “His beautiful soft tones held the audience enthralled, yet his dusky lower register had the resonance and weight of a bass. The baritone’s seamless legato line poured forth in one unbroken arc.” — South Florida Sun-Sentinel, Lawrence Budmen

Washington, DC: “His baritone instrument remains undiminished, at once powerful and agile, full and nuanced.” — Washington Post, Daniel Ginsberg