Placido Domingo: Sacred Songs (CD review)

Placido Domingo, tenor; Sissel, soprano; Marcello Viotti, Orchestra Sinfonica di Milano Giuseppe Verdi. DG 289 471 575-2.

With the release of Sacred Songs in 2002, the Spanish singer and conductor Placido Domingo proved once again he was among the greatest singers in the world. Given the absence from the scene of his primary competition, Luciano Pavarotti, this was still the story at the time. Today, many years later, Domingo's voice may not be what it was, but his place in the pantheon of great tenors nevertheless seems secure.

In 2002 Domingo continued to have a good range and a smooth, expressive style, perhaps more so in his prime than Pavarotti. Not that I have anything against the latter singer, mind you; he was and always will be a towering figure in the world of opera, and I'm privileged to have been alive to hear him sing. But favorites remain favorites.

Anyway, in Sacred Songs, Domingo performs sixteen songs of a sacred or religious nature, some of them familiar and some of them not, with vocal contributions by Norwegian singer and actress Sissel Kyrkjebo and the accompaniment of Marcello Viotti and the Orchestra Sinfonica di Milano Giuseppe Verdi.

Placido Domingo
The first item, "Ave Maria," for instance, is the familiar Biblical "Hail Mary" set to the popular instrumental intermezzo by Pietro Mascagni from Cavalleria Rusticana. It's kind of odd at first hearing words to the tune we all know so well without the words, but it works well enough; as does his vocal partner in the song, Sissel Kyrkjebo. Her voice is not nearly so full and operatic as Domingo's, but the ethereal quality she projects nicely complements his more robust outpourings.

The listener will also no doubt recognize Cesar Franck's "Panis angelicus" and Charles Gounod's "Sanctus" and Handel's "Ombra mai fu." The listener might not recognize Fermin Alvarez's "Plegaria" ("Los Tres Amores"), however, or Placido Domingo, Jr.'s "Ave Maria," but that's neither here nor there. And so it goes.

Two minor quibbles: I probably could have done without Richard Rodgers's "Climb Ev'ry Mountain" from The Sound of Music, which seems more than a little out of place among the more exalted "sacred" melodies that surround it, and I missed Schubert's famous "Ave Maria," which I guess Domingo figured everybody already has in multiple copies. Still, it would have been helpful to have it along with these others, all in one place.

DG's sound caps the climax, so to speak, by being rich and smooth, with perhaps not the epitome of solid front-to-back imaging but well balanced and warmly ambient in any case. Domingo is clearly out in front of the orchestra but never too very close up, and his voice is never hard, harsh, or bright.

In short, Sacred Songs is an all-around lovely album and makes for an easy crossover selection.

JJP

To listen to a brief excerpt from this album, click on the forward arrow:


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John J. Puccio

John J. Puccio

About the Author

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job.

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa