With her new album Simone Kermes presents her dedication to bel canto. Despite the title the Baroque soprano hasn’t suddenly switched from one voice type to another but is simply following her own interpretation of this term, arguing that bel canto is “inconceivable without reference to the Baroque tradition”.
Perfect breath control, perfect pitch control, pitch-perfect affect, an absolute model performance of baroque arias by Alessandro Scarlatti, Bonocini, Caldara, and Broschi, chosen from operas that are tragically unlikely to be produced anywhere near you anytime soon. There's been a glorious abundance of 'recital' CDs by sopranos and altos who have mastered the special vocal techniques for singing 17th and 18th C arias; I'll list some of my favorites in the first comment below. This recording - Colori d'Amore - Colors of Love - may well be the best. And I may need to endow a Prize to back up my opinion. It's appreciably better than Kermes's 2007 recording of Vivaldi motets with the Venice Baroque Orchestra. It seems worthy of being a career pinnacle for this established star of the opera stage.
Simone Kermes, crowned 'The Queen of Baroque' by Opera News, presents her eagerly awaited new album. Colori d'Amore (The Colours Of Love) is a selection of virtuosic baroque arias bound together by the theme of love, almost all of which are world premiere recordings, having been unjustly neglected for centuries.
Echo Award, Midem Award, several Diapason d’Or, “BBC Music Choice” (BBC Music Magazine), “Disc of the Month” (Gramophone).
The Leipzig-born Simone Kermes is one of the most sought after sopranos internationally for dramatic coloratura roles. Her remarkable vocal range predestines her particularly for the virtuoso works of baroque masters such as Handel and Vivaldi but also for Mozart's, Haydn`s and Beethoven`s sopranos and concert arias.
Conductor Michael Hofstetter does a beautiful job bringing out the nuances from the Orchestra of Ludwigsburg Schlossfestspiele in Il Trovatore. This is evident from the thunderous roll of the timpani at the beginning of the opera, and the careful phrasing throughout the album. Every dynamic is observed, and the result is the high drama crucial to Verdi.
With her new album Simone Kermes presents her dedication to bel canto. Despite the title the Baroque soprano hasn’t suddenly switched from one voice type to another but is simply following her own interpretation of this term, arguing that bel canto is “inconceivable without reference to the Baroque tradition”. The album centres around famous arias of the belcanto soprano repertoire: “Casta Diva“ from Bellini’s Norma, “O luce di quest’ anima“ from Donizetti’s Linda di Chamounix and “Dolce pensiero“ from Rossini’s Semiramide.