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Un Moto Di Giola: Opera & Concert Arias (Hybr) Hybrid SACD, SACD

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Product details

  • Audio CD (25 July 2006)
  • Please Note: Requires SACD-compatible hardware
  • Number of Discs: 1
  • Format: Hybrid SACD, SACD
  • Label: Bis
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 1,097,928 in Music (See Top 100 in Music)

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Most Helpful Customer Reviews

1 of 1 people found the following review helpful By Mr. J. I. Karacs on 23 Mar 2007
I was very impressed by this Mozart collection from the rising Swedish soprano. Her voice can be characterised as a light lyric soprano, so I listened out to her tackling the 2 arias from Cosi Fan Tutte, and was amazed to hear how she overcame the hurdles most lyric sopranos find daunting in singing this role. Both opera and concert pieces were a joy to listen to throughout, and I very much look forward to hearing more from this exciting and talented soprano.
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Most Helpful Customer Reviews on (beta) 4 reviews
5 of 5 people found the following review helpful
Bright and Starry Lights! 7 Oct 2006
By Grady Harp - Published on
Miah Persson my not be a well-known name in the opera on concert field here in the United States - yet! - but she soon will be. The young and very beautiful Swedish soprano is enormously gifted, a soprano with a exceptionally wide range, a purity of tone, a gift for embellishment and a voice that can soar with ease above a large orchestra and chorus (her most recent US appearance as the soprano soloist in Mozart's Mass in C with the Los Angeles Philharmonic under Esa-Pekka Salonen proves that). She is recording now and this particular all Mozart concert, in excess of an hour's worth of music, demonstrates why the music world is a flutter.

Persson's connection with the music of Mozart and with her audience is infectious. Here she is ably assisted by Sebastian Weigle conducting the Swedish Chamber Orchestra in a series of opera arias and concert arias, each of which is successful on its own terms. Included are 'Schon lacht der holde Frühling, aria for soprano & orchestra, K. 580', the ever popular 'Ch'io mi scordi di te' K. 505 with pianist Yevgeny Sudbin at the piano obbligato, 'Nehmt meinen Dank, ihr holden Gönner', K. 383, 'Lungi da te, mio bene' from Mitridate, rè di Ponto, K. 87', 'Un moto di gioia mi sento, K. 579, 'Deh vieni non tardar' from Le nozze di Figaro. 'Come scoglio' from Così fan tutte, 'Ruhe sanft mein holdes Leben' from Zaide, and of course 'Exsultate, jubilate, motet for soprano & orchestra, K. 165'.

In every selection Persson is agile, perfectly pitched, and genuinely communicative. This is a very fine recording form one of tomorrow's important stars! Grady Harp, October 06
3 of 3 people found the following review helpful
By R. Olsavicky - Published on
Verified Purchase
This is an easy review; don't miss this soprano or recording! She is already a new Mozartian Soprano right up there with Lucia Popp, Erna Berger, Sylvia McNair, Elizabeth Schwarkzkopf, Sena Jurinac ETC. ETC. You get the picture a new special singer with special gifts has arrived. Don't miss her, you'll be sorry! She has a rich middle and low voice with a clean, lovely, bright and shining top. She has an absolutely wonderful free and beautiful lyric Soprano. She also has a real gift for communication.
2 of 2 people found the following review helpful
A lovely voice used musically but with little dramatic impact 18 Jun 2010
By Santa Fe Listener - Published on
As previous reviewers note, Miah Persson isn't well known in the u.S., or on recordings, either, so much as DVDs of Mozart operas. The Swedish soprano has a bright lyric-coloratura that is reminiscent of Barbara Bonney's. Since she is so musical and stylish, one wonders if the current drought of new opera recordings is at fault; in a better world we would have more from her on disc. She is forty-one now and made this very enjoyable recital of Mozart arias four years ago, so Persson isn't new on the scene. Such great Mozart sopranos as Schwarzkopf, Te Kanawa, and Popp have covered these concert arias as well as the usual excerpts from the operas. Persson is almost in their league, and modern listeners may prefer her period-tinted approach, although it's just that, a tint. On the whole she is full-voiced and expressive, without the whiteness in her voice that one hears in, say, Emma Kirkby.

A prominent Russian virtuoso, Yevgeny Sudbin, has been enlisted in the piano parts of two concert arias (Brendel did the same for Schwarzkopf forty years ago), and his contribution is refined and reserved. In fact, if there's a flaw here, it's too much restraint on Persson's part -- I don't feel the passion in Ch'io me scordi di te. Te Kanawa was also cool, but not even she was this subdued. Un moto di gioia is lovely but not joyous or coy. The treacherous aria Come scoglio from Cosi tests the vocal limits of even the greatest Fiodiligis. Persson skates through too smoothly, forgetting the outrage of the character -- this is like a vocal exercise in leaping intervals and coloratura flourishes. When all is said and done, Persson emerges as a kind of lesser Solie Isokoski, another lyric soprano from Scandinavia with impeccably pearly tones but not the most exciting dramatic presence.

P.S. -- Having now heard a lovely recital online from Miah Persson, I regret that this album didn't move me. she is a musical, refined singer.
2 of 2 people found the following review helpful
beautiful 1 May 2008
By Charles H. Wahlert - Published on
Ever since i saw her in Mitridate I've been totally captured by her voice. She is one of the best sopranos out today. Indescribably beautiful.
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