the top 10 opera singers of today

renée fleming

anna netrebko

angela gheorghiu

anja harteros
joyce didonato

elina garanca
juan diego florez

jonas kaufmann

dmitri hvorostovsky

rené pape

1. 2nd revision of list on March 7th 2012, where plácido domingo is replaced by anja harteros. next to go are a) dmitri hvorostovsky if he does not improve upon his singing or b) angela gheorghiu if she does not expand her repertoire.
2. 1st revision June 17th 2012 after thorough deliberations, where waltraud meier and karita mattila from the initial list have been replaced by joyce didonato and juan diego florez.

Although there is most certainly always a subjective element to any top 10 list, the size of the singers career and popularity are important parameters alongside vocal quality.
My entirely subjective top 10 list below (random order):

eva-maria westbroek
anne schwanewilms (mainly in lieder)
waltraud meier
anna caterina antonacci
magdalena kozena (lieder and concert mainly)
karita matila
jonas kaufmann
peter mattei
gerald finley
rene pape

Carmen at The Met

Carmen. DVD. 2010. Metropolitan Opera. Production: Richard Eyre. Conductor: Yannick Nezet-Seguin. Cast: Elina Garanca (Carmen), Roberto Alagna (Don J), Teddy Tahu Rhodes (Escamillo), Barbara Frittoli (Micaela).

Last time The New York Metropolitan Opera presented a new production of Carmen was in 1997, directed by Zeffirelli with Waltraud Meier as Carmen ("it was the most horrible time in my career"), and Angela Gheorghiu ("that wig goes on stage with or without you") as Micäela. This time around, Angela Gheorghiu was originally scheduled as Carmen, but withdrew allegedly due to private problems - i.e. her separation from husband Roberto Alagna - as of now (2012) they seem to be together again though. However, so-called "dramatic issues" also played a part in her cancellation. Understandably so. As Carmen you´d need a vocal heft, particularly in the lower register, that Gheorghiu simply does not have and furthermore in a house the size of the Met..not an obvious recipe for success, I´d say.

The current production opened on New Years Eve 2009, directed by Richard Eyre, who chose to update the story to the 1930 Spanish Civil War, thus emphasizing the political context of the piece - i.e. underlining the inherent conflicts between soldiers and townspeople. The sets are relatively simple and the story is told in a straight-forward manner. Perhaps not overly exiting or inventive, but a staging which will satisfy most audiences, not an unimportant consideration for an production which is supposed to fill the house regularly with everchanging cast members for the next 10+ years.
The replacement for Angela Gheorghiu was Elina Garanca, a vocally superb, though cool Carmen. There are simply no other mezzo-soprano today with the same beautiful even tone throughout the entire register. At no point was she strained. Some may lack a bit of wildness and spontaneity, but this is just not Garanca´s style. Garanca portraits a woman in the 1930´s, who is definitely not a vamp, but a calculating woman. As such it is difficult to fault her something. Those wanting more wildness may look forward to seeing Anita Rachvelishvili when she appears in the same production in the 2012-13 season.

As for Roberto Alagna, he really does seem to have a vocal renaissance in these years. Don José is a good part for him. If I sound less than completely enthusiastic it is simply that I have never really taken to Alagna´s style. But he does what he always has been doing, and better than in a long time as well.
Barbara Frittoli´s vibrato unfortunately has widened quite a bit the last 4-5 years, but her appearance as Micaëla is wonderful. Teddy Tahu Rhodes replacing an ill Mariusz Kwiecien with three hours notice, looks great, but vocally he does not really have the vocal qualities of a great Escamillo.
Points to Keith Miller as well for excellent characterization as Zuniga.

Yannick Nezet-Seguin is repeatedly mentioned as one of the favourites to take over after James Levine, when the latter officially resigns (these years he is barely conducting due to protracted health problems). And why not? He is a fine conductor, delivering a colourful and dynamic interpretation of the score.

For many, this could be a first choice. Alternatively, for a bit more sparkle between the protagonists, look for Jonas Kaufmann and Anna Caterina Antonacci´s 2006 version from London.


Final scene:

The bottom line (scale of 1-5, 3=average):


Elina Garanca: 5
Roberto Alagna: 4
Teddy Tahu Rhodes: 3
Barbara Frittoli: 3


Richard Eyre: 3
Yannick Nezet Seguin: 4-5


Overall impression: 4

Elina Garanca: Bel Canto

Elina Garanca: Bel canto. Arias from Bellini, Rossini, Donizetti. With Filharmonia del Teatro Communale di Bologna. Released by DG January 2009. Conductor: Roberto Abbado. Appearances by Ildebrando d´Arcangelo and Ekaterina Siurina. Further information and tracklist on the album website here.

32-year Latvian mezzo-soprano Elina Garanca recently stated in an interview that she tends to move increasingly into the bel canto repertoire for upcoming seasons. And based on this album, that seems a very, very good idea.

Quite simply, Elina Garanca is spectacular from A to Z in this repertoire including arias from Lucrezia Borgia, Maria Stuarda, I Capuleti e Montecchi as well as a couple of rarities.

Her one-in-a-million timbre an effortless coloratura shine throughout in a repertoire she is truly very comfortble with. True, at the utmost upper range of her voice it may seem a bit uncontrolled, and her diction is not really to write home about. But the bel canto in the truest sense of the word, she provides in spades.

Elina Garanca has always been characterized by a straightforward no-nonsense and non-sentimental delivery, and in this respect I find much more nuances and shades of expression and individual characterization on this her second solo disc for DG opposed to previous disc Aria Cantilena, also highly recommended.

Furthermore the collaboration with Roberto Abbado´s Bologna orchestra is unusually energetic and truly infuses life and drama into the whole thing. Ekaterina Siurina participated in a couple of tracks as well, hoping the DG would sign her up as well, as she is really exquisite.

I suspect, in years to come, this Bel Canto disc may well stand out as one Elina Garanca´s finest discs. Strongly recommended. Even for non belcanto afficionados, among whom I count myself.

From Adelson e Salvini "Dopo l´oscuro nembo":

Overall impression (scale of 1-5, 3=average):
4

Posted by leporello89 on YouTube

Elina Garanca: Aria Cantilena

Elina Garanca: Aria Cantilena. Staatskapelle Dresden conducted by Fabio Luisi. 2007. Album website with complete tracklist here.

It seems a safe bet that 1976-born Lativan mezoo-soprano Elina Garanca will become one of the major opera singers of the future: She has signed a solo contract with Deutsche Grammophon. Her manager is Jeffrey Vanderveen (who also happens to be the manager of Anna Netrebko). She looks great, she acts great, she sings great. What more can you ask for? Not much as I am concerned.

For this her debut disc for DG, "Aria Cantilena" she sings a varied repertoire, from zarzuela arias to excerpts from Rosenkavalier.

First of all, Elina Garanca has one of the finest mezzo-soprano voices of today with an astonishing solid middle register, excellent technical control and dashing coloratura as well as a beautiful timbre. For the pedantic, she may occasionally strain and be slightly off-pitch on the highest notes, however it seems more a result of her dramatic expression running away with her than of a genuine vocal problem.

Secondly, Elina Garanca is wonderfully dramatic and forceful as an interpreter. I wouldn´t necessarily disagree wildly if some listeners find her interpretatively unvaried, however I personally found her to be completely refreshing.

Her coloratura-technique is flashed on the two Rossini tracks from La Cenerentola (Naqui all´affanno) and L´Italiana in Algeri (Concedi, amor pietoso).

Even Werther´s Charlotte benefits from this straight-forward interpretation, which, agreed is not very French at all. Admittedly I have never been on to care much for diction (except in Wagner, which is not relevant here), but objectively her French diction is somewhat less than perfect, which also applied to the superbly sung Vois sous l'archet fremmisant from Hoffmann´s Tales.

For the two Rosenkavalier-excerpts Elina Garanca has been given superb colleagues in Diana Damrau and Adrianne Pieczonka. Furthermore, Octavian is a role which superbly suits Elina Garanca´s straightforwardness, dramatically as well as vocally.

Perhaps, the best track on the disc is a superb no-nonsense rendition of Las Carceleras from the zarzuela "Las hijas del Zebedeo".

The bottom line (scale of 1-5, 3=average):

5

DVD: Clemenza di Tito

Clemenza di Tito. Felsenreitschule, Salzburg Festival 2003. Director: Martin Kusej: Cast: Dorothea Röschmann (Vitellia), Michael Schade (Tito), Vesselina Kasarova (Sesto), Elina Garanca, Barbara Bonney. Conductor: Nikolaus Harnoncourt with the Vienna Philharmonics. Further information here.

Martin Kusej created a close to ideal staging of Mozart´s opera La clemenza di Tito for the Salzburg Festival 2003. Even those looking for a traditional Tito (which this is certainly not), I wouldn´t advise immediately to look elsewhere as the vocal performances are simply superb, in particular the casting of the central trio of Dorothea Röschmann-Vesselina Kasarova-Elina Garanca, which may stand any test of time.

Martin Kusej imaginatively incorporates the intrinsic stone arches of Salzburg´s Felsenreitschule in the sets as small spaces inhabited by the various characters, emphasizing the dark aspects of the work, such as isolation and betrayal. Otherwise the stage is virtually naked, to be lightened up by some spectacular light effects surrounding the fire/assassination attempt on Tito, predicably deemed superficial by the Austrian press.

Nikolaus Harnoncourt´s ideas may not be for everyone, but once you have heard a Mozart opera conducted by a conductor without ideas, most will come to appreciate any idea at all. As it is, I rather like Harnoncourt´s ideas, relatively slow tempi, though diverging from the norm to the degree of his Nozze di Figaro a couple of years later. The recitatives are exciting, not least due to the superb singing-actors.

Personally, I´ve never taken to trouser-roles in opera, however it´s hardly something to blame on the production or the artists. Nor that the second act seems to drag on quite a bit...

All six soloists are simply excellent: I cannot imagine a better pair of friends than Vesselina Kasarova and Elina Garanca. Elina Garanca sings mainly in the lower ranges as Annio and she is a very convincing trouser-role artist (as Octavian as well). The slight androgynity of Vesselina Kasarova I´ve always found curiously intriguing in trouser roles, and vocally she is nothing short of perfect. Dorothea Röschmann is the over-wrought Vitellia in a performance I simply cannot imagine being bettered. The chemistry between these three are unbeatable. In comparison with these great ladies, Michael Schade´s Tito seems slightly less exceptional, though it seems like he is supposed to be insane, which may obviously explain a bit.

I cannot imagine a better performance of Tito on DVD.

Sesto-Vitellia duet with Vesselina Kasarova and Dorothea Röschmann:

The bottom line (scale of 1-5, 3=average):

Dorothea Röschmann: 5
Vesselina Kasarova: 5
Michael Schade: 4
Elina Garanca: 5
Barbara Bonney: 3-4
Luca Pisaroni: 4-5

Martin Kusej´s production: 5

Nikolaus Harnoncourt: 5

Overall impression: 5

DVD: Vienna Werther with Elina Garanca

Werther. Vienna State Opera 2005. Production: Andrei Serban. Cast: Marcelo Àlvarez (Werther), Elina Garanca (Charlotte), Adrian Eröd (Albet), Ileana Tonca (Sophie). Conductor: Philippe Jordan. Further information here.

Adrian Serban uses a unitary set for this acclaimed Vienna State Opera production of Werther. Dominated by a big tree, appropriately serving to anchor the characters as well as to show the passing of time with the changing leaflets. Serban´s Werther is a psychological drama about conventions and relationships. As relevant as ever. Appropriately set in the conservative 1950´s. dominated by a big tree.
"I have always done my duty", Charlotte says a some point. And that is the real tragedy of Werther - that Charlotte does not have the courage to break with conventions and leave Albert, or at least have a hidden affair with Werther.

Elina Garanca is simply perfect as Charlotte - vocally superb, with that hint of coolness in both voice and dramatic presence ideal for Charlotte. And her voice really is extraordinary even and smooth throughout the range. I believe this part was her major international breakthrough - most deservedly so.

Fine performance from Marcelo Àlvarez as Werther, though he lacks the last inch to be believable dramatically as Werther, something I am convinced Rolando Villazón will have in spades for the June 2009 revival (if on top Villazón will be as vocally secure as Àlvarez, he will be perfect).

Albert´s part (fine performance by Adrian Eröd) was expanded as he overhears/sees one of the exchanges between Werther and Charlotte, adding to the credibility of his anomisity towards Walther. Same for Sophie (equally fine turn-out for Ileana Tonca), who quite visibly is in love with Walther, but, like Charlotte, is afraid to admit her feelings.

Splendidly accompanied by Philippe Jordan, in a refresningly unsentimental, though still poignant reading.

Elina Garanca/Marcelo Àlvarez from Werther Act 3:

Posted on YouTube by marcelissimo

The bottom line (scale of 1-5, 3=average):

Marcelo Àlvarez: 4
Elina Garanca: 5
Adrian Eröd: 4

Andrei Serban´s production: 5

Philippe Jordan: 5

Overall impression: 5

Overall impression: 5

DVD: Patrice Chéreau with Cosi fan tutte

Cosí fan tutte. Aix-en-Provence 2005. Production: Patrice Chéreau. Cast: Erin Wall (Fiordiligi), Elina Garanca (Dorabella), Stéphane Degout (Guglielmo), Shawn Mathey (Ferrando), Barbara Bonney (Despina), Ruggero Raimondi (Don Alfonso). Conductor: Daniel Harding with the Mahler Chamber Orchestra. Further information here.

Patrice Chéreau is one of the very few film directors, that truly excels in both film and opera. His trademark is the extremely thorough analysis of the text as well as the individual direction of the singers. Both of which he uses to maximal effect in this Aix-en-Provence production of Cosí fan tutte from 2005.

Patrice Chéreau:

"Why shouldn't Cosi be something other than bubbly and light-hearted? And why shouldn't one take seriously everything that Mozart and Da Ponte wrote? For Cosi deals with complex issues, speaking to us of the all-pervasiveness of desire, showing us that one can have love for more than one person at a time and that there is infinite sorrow in discovering this, and some little sweetness in accepting it, and furthermore that Alfonso knew all this, and that he had a natural vocation to torture those unhappy souls who did not know it..."

And this is exactly what he delivers. There is nothing funny or lighthearted about this Cosí fan tutte, both modern and classical at the same time, and remarkably bittersweet.

All are in period costumes on a virtually bare stage, in fact a rustic storage backstage room complete with telephones, fire extinguishers and a sink along the walls. Not to mention the VIETATO FUMARE sign on the wall. Designed as always, by Richard Peduzzi, Chéreau´s usual set designer. In the end everyone is confused and lost, holding hands and walking around in circles on stage. And rightly so: This uncomplicated partner-switching always seemed rather silly to me.

For once, Dorabella is the more sophisticated and assured of the two sisters, as well as being the more spontaneous which explains her being the first to "give in". An interpretation underlined by Elina Garanca´s superb performance, which overshadows Erin Wall´s more anonymous, though fine Fiordiligi. And the voices of Wall and Garanca blend together extraordinarily well in the ensembles. Though a fine artist, Barbara Bonney doesn´t make a particularly good Despina and was in rather dry voice. The men were more anonymous, except Ruggero Raimondi´s Don Alfonso - for once an Alfonso in fine voice, though Raimondi obviously is past his prime as virtually everyone else cast in this part. All accompanied by an engaged Daniel Harding in the out-door pit.

Erin Wall and Elina Garanca, Act 1:

The bottom line (scale of 1-5, 3=average):

Erin Wall: 4
Elina Garanca: 5
Barbara Bonney: 3
Ruggero Raimondi: 4
Stéphane Degout: 4
Shawn Mathey: 4

Patrice Chéreau´s production: 5

Daniel Harding: 4

Overall impression: 4

Rosenkavalier at the Berlin Deutsche Oper

Rosenkavalier, Deutsche Oper Berlin, March 15th 2008. Production: Götz Friedrich. Cast: Elina Garanca (Oc), Christine Schäfer (Sophie), Michaela Kaune (Marschallin), Peter Rose (Ochs). Conductor: Philippe Auguin

Judged by the tremendous applause I don´t think anyone in the audience would disagree that this was an immensely well-sung performance of the Rosenkavalier (more here)- with Elina Garanca deservedly receiving the major applause for her quite fabulous Octavian: She has everything this role requires: A beautiful firm voice (in many ways reminding of the young Christa Ludwig), a great talent for comic acting, providing an very convincing portrayal of the young boy Octavian.

Equally convincing was Peter Rose as Ochs : Wonderful low notes, a steady voice, and again, a great talent for comic acting. Funny, but never exaggerates into the ridiculous, making this Ochs a believable character, not just a parody.

Christine Schäfer was Sophie, and despite beautiful, stylish singing, the Sophie train may have left, if it was ever there: Never a specialist in innocent girls portrayals, the part does not appear to suit her dramatically. Also Michaela Kaune, a fine, but not a stand-out as the Marschallin with a beautiful voice, but somewhat lacking in characterization.

Philippe Auguin was competent, but the true flow and elegance of this music never really was transmitted to the audience. And Götz Friedrich´s production is from 1993, which shows: Stylish, but dusty. Modern in the outlook, but with no real departures from the storyline or new interpretative angles.