V0511. KRASSIMIRA STOYANOVA, w.Pavel Baleff Cond. Münchner Rundfunkorchester: Verdi Arias. [The arias from DON CARLOS are exceptionally beautiful!] (Germany) Orfeo C 885 141, recorded 2013. Long out-of-print, Final Sealed Copy! - 4011790885124
“Krassimira Stoyanova is one of the world’s reigning divas, heard on four continents, especially in the operas of Giuseppe Verdi. In today’s opera marketplace, this elevates her to membership in a tiny elite — as one of the three or four lirico spintos on the globe who can tread the fine line between stormy passion and elegant expression in such arduous works as IL TROVATORE, DON CARLO, UN BALLO IN MASCHERA and OTELLO. A Verdi aria recital recording issued earlier this year demonstrates her mastery of the style, the line and the temperament that can keep these works vital and compelling — without resorting to the tricks of some performing traditions.
On first hearing Stoyanova, a listener may not be won instantly to a lush or sweet sound. Her timbre is darker than the typical Italian voice, with undertones omnipresent in the mix, but it also has a chameleon quality and a command of fioritura in ornate roles such as Violetta or Leonora. She’s not one of the singers who seem to stop time by lingering over refinements; her tone is mobile and varied, with hair-trigger, dramatically compelling responses.
While she has commented that every Verdi role ‘feels as if it were written for me’, she concedes that her repertoire today is partly a matter of chance. Stoyanova stresses the importance of maturity and readiness for a particular role. ‘I am especially happy to sing my first Aida with Maestro Muti. It’s a real honor to work with him, especially in Verdi. You learn, and you learn in real depth’. The admiration is clearly mutual. ‘I always enjoy working with her’, Muti says, ‘not only because she is a wonderful singer and a real artist but because she really knows music. Her musicality is expressed in her pure voice with phrasing that is always meaningful and noble’. Even more than with Aida, she felt the need to mature vocally before undertaking, a few seasons ago, the role of Elisabetta in DON CARLO. ‘I think the role of Elisabetta is more challenging in the writing, with so much happening in the middle range, and also, in Aida the orchestra is very light and transparent. In DON CARLO it’s darker and thicker. And the vocal lines — Aida is written more vertically, Elisabetta more horizontally, and that can be more difficult, for me’.”
- David J. Baker, OPERA NEWS, Nov., 2014