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I want to bring to your attention this operatic recital by Rachel Willis-Sørensen published a year ago or so by Sony Classical. Please not be distracted by the marketing pastel tones and the title of the recital. Ms. Willis-Sørensen is actually a serious singer who knows what she is doing. She has sung all roles presented on stage. She is 38 years old and seems to have her head well screwed in her shoulders, as it were.
Ms. Willis-Sørensen is a juicy lyric soprano with a wide vocal range (she can sing up to high Eb), a darkish sound and a largish voice (more on that later). She demonstrates good musicality, a good trill, a good legato, and the ability to execute coloratura effectively but more importantly as part of the musical presentation of a role. It is not a vocal exercise as it clearly has in her singing a musical and dramatic purpose. Ms. Willis-Sørensen has another important aspect in her singing to my taste: she is capable of marry her tone and her legato to she give propulsion to her singing, a purpose and forward direction instead of each tone sitting on itself. Few singers have had this ability, it makes for singing of consequence.
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Because she has a well developed voice — I am sure that many will find quips and issues, I don't say that she is perfect — her lyric voice has a well developed heft and projection resulting in a volume that would tempt people to think that she is a dramatic soprano. Ms. Willis-Sørensen has been pushed to sing heavier Wagner roles (e.g., Sieglinde; she has Elsa and Eva in her repertory) but fortunately, she has resisted going into that direction, however, tempting it may be. She understands who she is vocally, she wants to remain with Mozart, and perhaps explore the bel canto repertory.
This was an exciting discovery. This year they have published her recording of Strauss' Vier letzte Lieder and the closing scene of Capriccio with Andris Nelson and the Gewandhausorchester Leipzig. I was impressed with that recording also.
Ms. Willis-Sørensen is a juicy lyric soprano with a wide vocal range (she can sing up to high Eb), a darkish sound and a largish voice (more on that later). She demonstrates good musicality, a good trill, a good legato, and the ability to execute coloratura effectively but more importantly as part of the musical presentation of a role. It is not a vocal exercise as it clearly has in her singing a musical and dramatic purpose. Ms. Willis-Sørensen has another important aspect in her singing to my taste: she is capable of marry her tone and her legato to she give propulsion to her singing, a purpose and forward direction instead of each tone sitting on itself. Few singers have had this ability, it makes for singing of consequence.
Because she has a well developed voice — I am sure that many will find quips and issues, I don't say that she is perfect — her lyric voice has a well developed heft and projection resulting in a volume that would tempt people to think that she is a dramatic soprano. Ms. Willis-Sørensen has been pushed to sing heavier Wagner roles (e.g., Sieglinde; she has Elsa and Eva in her repertory) but fortunately, she has resisted going into that direction, however, tempting it may be. She understands who she is vocally, she wants to remain with Mozart, and perhaps explore the bel canto repertory.
This was an exciting discovery. This year they have published her recording of Strauss' Vier letzte Lieder and the closing scene of Capriccio with Andris Nelson and the Gewandhausorchester Leipzig. I was impressed with that recording also.
