Puccini: In quelle trine morbide (from Manon Lescaut)

Cheryl Barker first broke the hearts of audiences worldwide as Mimì in Baz Luhrman’s imaginative production of La bohème. In Puccini ≡ Passion the radiant Australian soprano delivers beguiling performances in a panoply of Puccini’s heroines in favourite arias, accompanied by the State Orchestra of Victoria under the baton of Richard Bonynge.

Opera expert Rodney Milnes comments in the booklet: “Puccini famously liked to write about "little women", but he gave them "big" music, which is one thing that makes Cheryl Barker so ideal an interpreter of his soprano roles ... her lyric soprano, with an indefinably sweet vibrancy built in to the tone, adds immeasurably to her appeal. With that vibrancy comes a sense of vulnerability, which helps her bring the characters alive in both vocal and dramatic terms ... This most welcome disc allows her to present an overview of Puccini's women from the very beginning.”

Issued for the first time on SACD, this disc is for all lovers of Puccini, encompassing his most popular soprano arias from Manon Lescaut, Tosca, La bohème and Madama Butterfly, one of Barker’s favourite roles, as well as arias from Le Villi, Edgar, La rondine, Suor Angelica, Gianni Schicci and Turandot. Barker ends with two little known treasures, the folksong-like ‘E l’uccellino’, and ‘Sole e amore’, an 1888 song whose melody Puccini later re-used in La bohème. And in a departure from his usual repertoire Richard Bonynge brings fresh imagination and sparkle to Puccini’s masterful orchestral palette.

Cheryl Barker’s most recent CD, also for Melba and released in 2011, was Pure Diva (MR301129), a very personal tribute to her teacher and fellow Australian soprano, the great Dame Joan Hammond.

Armenian soprano Karine Babajanyan has made an international impact as Cio-Cio San in numerous Madama Butterfly productions and is one of today's outstanding performers of Puccini’s divas.

“Karine Babajanyan succeeds not only acting wise but also gives us a musically complex portrayal of the title heroin...” the press wrote about her debut at the Opera House Graz as Cio-Cio-San, a role she has since performed at the New National Theatre Tokyo, the Hamburg State Opera, the Opera House Frankfurt, the State Theatres of Saarbrucken and Wiesbaden, and at the Stuttgart State Opera.

Karine Babajanyan began her musical education with piano lessons at the age of seven and continued with singing and choir direction studies at the Erivan City Conservatory, graduating with distinction. After participating in master classes in Italy the young artist returned to her native country. Here, she received her first engagement at the Armenian National Opera.

The versatile artist is hailed by both the press and the public for her “…warm-timbred, youthful dramatic voice…” in all the important roles of her repertoire e.g. the Contessa in ‘Le nozze di Figaro’, Fiordiligi in ‘Cosi fan tutte’, Mimi in ‘La Bohéme’, Leonora in ‘Il Trovatore’, just to name a few.

In 2007 the attractive soprano made her widely noticed debut as Tosca at the Bregenz Festival in Austria – seen by cinema-goers worldwide in the opera scene in the James Bond film ‘Quantum Of Solace’.

Further guest performances took Karine to the Aalto Theatre in Essen, the Mannheim National Theatre, to Bern, Basle, Oslo, Dorset and Mexico, where she keeps celebrating triumphs in roles such as Tatjana (Eugen Onegin), Norma, Leonora (La forza del destino), Maria (Mazeppa)‚ Maddalena (Andrea Chénier) and the press comments “not only is her voice true, powerful and beautiful, but she has that natural presence with which only few are blessed”.

“There was great excitement at the British debut of Armenian soprano Karine Babajanyan in the title role, and she fully satisfied the anticipation. She has attracted rave reviews in Germany, Switzerland and Israel, and local audiences were indeed fortunate to see this remarkable singer so early in her career. Not only is her voice true, powerful and beautiful, but she has that natural presence with which only few are blessed, and her performance was magnetic” Blackmore Vale Magazine on Karine Babajanyan’s UK debut in Norma with Dorset Opera

The New Zealand-born Kiri Te Kanawa’s lyric soprano voice and captivating stage presence have, throughout her operatic career, won her critical acclaim and a multitude of devoted fans. Audiences have continually been drawn to her natural ability to bring characters to life on stage, and this effortless versatility is brilliantly captured on this recording – a selection of ten of the greatest soprano arias, by two composers whose works Te Kanawa has always excelled at performing.

Drawn from classic Italian operas, the arias that make up this programme encompass a broad spectrum of themes, from tragedy and loss to the expression of love. Puccini’s ‘Vissi d’arte, vissi d’amore’, for example, sees Tosca plead with God over the fate of her beloved, while in ‘Tu che le vanità’, from Verdi’s Don Carlo, the desolate Elisabetta expresses a longing for death to end her sorrows. In these arias – and in further songs from La traviata (‘È strano!…Ah, fors’ è lui’), La bohème (‘Quando me’n vo’ soletta per la via’) and Madama Butterfly (‘Un bel dì vedremo’), among others – a common thread is the extreme emotional state of each character, prime material for a performer as skilled as Te Kanawa.

A reminder of the great soprano’s artistry and intuitive ability to interpret the leading operatic roles, this classic recording of Italian arias will delight opera enthusiasts. On the recording’s original release Gramophone stated, ‘It is a pleasure to recommend this programme of Verdi and Puccini arias without reservation. The beautiful voice has never sounded better and the clear well-balanced recording allows us to hear the expressive pointing of meaning and characterization to perfection.’

Recordings made in 1981

New booklet note by Mike Ashman, exploring the background of each aria and the recital’s theme of ‘women on the verge’.