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Concert
Successful debut with the Norrlands Operans
Symphony Orchestra
On January 19 Lisa gave her debut with the NorrlandsOperans Symphony Orchestra in Sweden. Conducted by Rumon Gamba she sang Rolf Martinsson's ›Orchestral Songs‹. Bengt Hultman from the Västerbottens-Kuriren was thrilled: "Intensity and total brilliance" was the title of his review:→ LINK TO COMPLETE REVIEW IN SWEDISH AND ENGLISH
Big success for Lisa Larsson at the Concertgebouw
On November 26 and 27 Lisa Larsson gave two very successful concerts at Amsterdam's Concertgebouw. Accompanied by the Netherlands Chamber Orchestra and its leader Gordan Nikolić she sang Felix Mendelssohn's concert aria ›Infelice‹ op. 94 as well as the Dutch premiere of Rolf Martinsson's song cycle ›Garden of Devotion‹. The concert was broadcast as live stream and can now be seen on youtube:YOUTUBE-LINK: LISA LARSSON SINGS ›INFELICE‹
YOUTUBE-LINK: LISA LARSSON SINGS ›GARDEN OF DEVOTION‹
Star of the evening: Lisa Larsson
Critical acclaim für Lisa Larsson's appearance with the Västerås Sinfonietta on November 17, 2016. Her interpretation of Rolf Martinsson's ›Garden of Devotion‹ is heavily applauded:→ LINK TO REVIEW IN ENGLISH
Successful Finland premiere of ›Ich denke Dein...‹
Review by Wilhelm Kvist, Hufvudstadsbladet, 29/01/2015:"Martinsson's songs stand and fall with the soloist, who in this case has a hauntingly beautiful voice. The Swedish soprano Lisa Larsson has become somewhat of a stalwart friend in Martinsson's court and will be performing many of the composer's works this season. She sang melodically and focused, her language was beautiful and her voice carried above the orchestra throughout the entire performance. These songs were performed for the very first time in Zurich just a few weeks ago and are already booked for performances in the Concertgebouw in Amsterdam, Gothenburg, Milan and London, just to name a few. The song suite is an unusually successful commission of the Tonhalle Orchestra Zurich, the Helsinki Philharmonic Orchestra, the Gothenburg Symphony Orchestra, the Netherlands Philharmonic Orchestra and the Philharmonia Orchestra.
For complete review click here
Review by Veijo Murtomäki, Helsingin Sanomat, 30/01/2015:
"When the shockingly good soprano Lisa Larsson performed Martinsson’s brand new song cycle 'Ich denke Dein…' and John Storgårds created an 'überschön' orchestral background, the listener felt as if he was being led into an enchanted garden, where an angel had fallen from heaven. Larsson’s soprano radiated and floated, and was sublime in the pianissimos. It soared effortlessly and entwined playfully with Pekka Kauppinen’s intoxicating violin and Tomas Nuñez-Garcés’s alert cello in the highest spheres/registers. Goethe’s, Eichendorff’s and Rilke’s poems received a glittering blanket which made you blush a little on behalf of the classicists.
For complete review click here
Concerts with antonello Manacorda
In April 2013 Lisa Larsson sang three concerts in Germanyconducted by Antonello Manacorda:
HAYDN ›Dov'è, dov'è l'amato bene? ... Del mio core il voto estremo‹
from the opera ›L'anima del filosofo ossia Orfeo ed Euridice‹
PERGOLESI Cantata ›I lamenti d´Orfeo‹
April 12 & 13 | hr Sinfonieorchester | Frankfurt
Review of this concert by Harald Budweg in Germany's leading paper Frankfurter Allgemeine Zeitung of April 16:
"Another highlight of this first-rate evening in the broadcast studio was Swedish soprano Lisa Larsson's performance of two pieces. She possesses a truly great, tremendously flexible voice which is capable of enormous elevations and exhibits immense charisma and characteristic intensity, making it ideally suited to dramatic scenes of all kinds. For her performance in Frankfurt, she had selected two compositions concerning the legend of Orpheus, although neither was by Monteverdi or Gluck. A short extract (recitative and cavatina) from Joseph Haydn's opera ‚L'anima del filosofo ossia Orfeo ed Euridice‘ was followed by the somewhat more expansive cantata ‚Orfeo‘ by Giovanni Battista Pergolesi, which included two recitatives and two arias, providing the soloist with ample scope to showcase the full extent of her artistry."
BRITTEN ›Les Illuminations‹ op. 18
April 20 | Kammerakademie Potsdam | Potsdam
The following review by Peter Buske was published on April 22 in the Potsdamer Neueste Nachrichten:
"Poems by Arthur Rimbaud provide the composer with the text for 'Les Illuminations', a song cycle for soprano and strings (Op. 18). The work’s title is ambiguous. While in English the word 'illumination' denotes festive lighting or a colour illustration, in French it implies 'elucidation' or 'epiphany'. This miscellany of meaning is safely united in this bridging of English and French cultures. Swedish soprano Lisa Larsson, a shining apparition on the podium in a long, white and softly flowing sequined dress, sings as she is dressed: with a vocal delivery as light and broadly flowing as it is powerful and coquettish to capricious-sounding, she is able to fling out high notes with consummate ease or drop back into pianissimo with a seductively languishing glissando. No less perfect is the interaction of the singer with the musicians."
lisa larsson sings with the berlin philharmonic
Conducted by Andrea Marcon Lisa Larsson sang Vivaldi's ›Gloria‹with the Berlin Philharmonic Orchestra:
"Having regard to the as always brilliant RIAS-Kammerchor, this time rehearsed with Dennis Comtet, worked with the grandiose soprano Lisa Larsson.”
Berliner Morgenpost, October 13, 2012
“One can be ensnared by soprano Lisa Larsson and solo oboist Albrecht Mayer and it is considered impossible at this moment that Vivaldi didn’t like playing with a musical kit.”
Berliner Zeitung, October 13, 2012
COMPLETE REVIEWS
SUCCESSFUL TOUR OF SWEDEN
WITH CHAMBER ORCHESTRA MUSICA VITAE
CONDUCTED BY NATHALIE STUTZMANN
Lisa Larsson’s appearance singing Mahler’s “Wunderhorn” songs is described by P-G Bergfors in Smålandsposten of March 3, 2012 as:
"Seductively beautiful and strong soprano-voice, broad repertoire performed with sense of style and wonderful expression."Success with Rolf Martinsson’s „Orchestral Songs“
Great success for Lisa Larsson premiering the "Orchestral Songs" (high version) by her compatriot Rolf Martinsson in Sweden. Hannu Koivula conducted the Västerås Sinfonietta which was joined by the Jönköpings Sinfonietta for these concerts.An interpreter full of life and emotions … The soprano Lisa Larsson offered a grand lyric experience. … Lisa Larsson brings to life the seemingly simple but truely existential content with lyrical clarity and spiritual warmth. … She is in perfect command of her voice.
Vestmanlands Läns Tidning, January 23, 2012
How to make a Virtue out of necessity
In concerts with the Combattimento Consort under Jan Willem de Vriend on December 6, 7 and 9, 2011 in Dutch cities baritone Maarten Koningsberger had to cancel his participation due to illness. Instead of the originally scheduled cantata ›Apollo e Dafne‹ by Handel Lisa Larsson sang Haydn’s ›Scena di Berenice‹ in addition to his cantata ›Arianna a Naxos‹:Review of the first concert by NRC Handelsblad from December 7, 2011: “Next to a desperate heroine, these pieces also share a common structure: a sequence of highly expressive accompanied recitatives and two arias. They proved to be perfect for Larsson. Her interpretation showed Haydn’s talent for vocal composition as under a magnifying glass. With her wonderfully measured voice and tormented expression she beautifully conveyed Ariadne’s loneliness and Berenice’s doomed love.”
Lisa Larsson sings Britten's "LES ILLUMINATIONS"
Critical acclaim for Lisa Larsson's February 2010 tour in Sweden with the Musica Vitae Chamber Orchestra conducted by Peter Mannings:"Lisa Larsson is riveting as she explores both the ecstasy and the
self-absorption of Rimbaud's poems. She does justice both to his fleetingly light touch and his dark, melancholy depths. Her switches from moments of spiritual intimacy to full vocal grandeur are executed with consummate ease."
Magnus Haglund in GÖTEBORGSPOSTEN, 19.2.2010
"Her treatment of the lyrics is as deft as her polished musical rendition. Both aspects confirm that Lisa Larsson is a singer of great talent."
Tobias Lund in SYDSVENSKAN, 22. Februar 2010
"Lisa Larsson is a radiant presence. … her pianissimi are glorious, even in the upper range, while her full-toned forte is always effortless and to the ready … flawless French … singing that reaches into the soul."
Eleonor Andersson in SMÅLANDSPOSTEN, 9. Februar 2010
Orchestral songs by Richard Strauss
and soprano solo in Gustav Mahler's 4th Symphony
under antonello manacorda in Milan and Cremona
"Lisa Larsson gives both the score and text an intense attention, absolutely free from intellectualism, never skin-deep but expressive and able to elevate itself in harmony with the highly spiritual almost salvatory notion of the music.""....the choice of Larsson, adorned by the accompanying tapestry of sparkling and soft orchestral colours, is perfect."
"Without complacency, giving us the natural purity of a voice able to raise enchanting emotional evolution, without any pretense."
Alberto Bardelli in LA CRONACA DE CREMONA E CREMA, 16.1.2010
"...in the Lieder by Strauss (Frühling, September, Morgen, Zueignung) la Larsson demonstrated that one does not need the voice of Jessye Norman to fill these magnificent songs with pathos and expressiveness. Grand emotions and grand applause..."
Roberto Codazzi in LA PROVINCIA DI CREMONA, 16. 1. 2010
"...the celebrated Swedish soprano Lisa Larsson knew perfectly how to calibrate sound and diction of the very delicate and refined scores by Strauss, never covered by the orchestra and engaged into an intimate rapport and perfect symbiosis with the orchestra."
Giacomo Di Vittorio in L'OPERA, Februar 2010
Lisa Larsson sings Haydn and Stravinsky
Västerås Sinfonietta & Antonello manacorda
She demonstrated an incredible intensity at every point of the huge range of the aria and with her temperament it was a bit difficult with the quiet standing of a concert.Birgit Ahlberg-Hyse in VÄSTMANLANDS LÄNS TIDNING | complete review
lisa larsson as Ännchen in Weber's "Der Freischütz" at the Lucerne Festival
Aber spätestens bei Ännchens Vortrag von der „gar grusigen Gschecht“ war der Bann gebrochen und sang sich Lisa Larsson in die Herzen der Zuhörer.Fritz Schaub in NEUE LUZERNER ZEITUNG | complete review in german
Ebenfalls im langen Konzertkleid, aber voller Schalk und theatralischer Ironie spielte Lisa Lasson ein Ännchen, wie es im Buche steht.
Herbert Büttiker in DER LANDBOTE | complete review
lisa larsson sings handel
Handel: Jephta / Opera Fuoco & David SternLucerne Festival & Théâtre des Champs-Elysées
…die wunderbare Sopranistin Lisa Larsson als demütige Iphis.
David Koch, Neue Luzerner Zeitung
Lisa Larsson (Iphis) possède un timbre cristallin et gracile, manifestement à l'aise dans les aigus. Elle nous gratifie de beaux ornements, en particulier dans l'air du premier acte ("The smiling dawns of happy days"), et surtout au second ("Welcome") aux aigus redoutables. Au troisième acte, elle nous transporte dans les projections lumineuses de son "Farewell".
Bruno Maury, La Muse Baroque
Lo splendore del Barocco: Handel concert with La Divina Armonia & Lorenzo Ghielmi in Milan
La biondissima svedese Lisa Larsson, elegante e luminosa nell' abito di seta dorata, l' ha intonata con luttuosa dolenza, come dev' essere nell' ambito narrativo dell' opera. E in quel «trattenere», in quello stare un passo indietro sotto il profilo emotivo, ha potenziato con infinita grazia l' esplosione sentimentale del capolavoro handeliano. Brava.
La Repubblica
Noël baroque: Christmas concert with the Orchestre des Pays de Savoie & Gabriel Garrido
Lisa Larsson, de sa belle voix de soprano, a rendu merveilleux les œuvres Jean-Baptiste Lully, avec Psyché, de Jean-Philippe Rameau avec des Indes Gallantes et de Nicolo Jomelli et Armida abbandonata.
K.H., Le Dauphiné Libéré
Handel: Radamisto / Wiener Akademie & Martin Haselböck
Konzerthaus Dortmund
Und schliesslich muss auch noch Lisa Larsson genannt werden, die Radamistos ganz in weiss gekleidete Schwester Polissena immer wieder mit erfrischenden und vor allem erstaunlich sicheren Koloraturen ausstattet.
cd, www.opernnetz.de
lisa larsson sings Mozart & Haydn
Mozart concert with Swedish Chamber Orchestra & Sebastian WeigleThe mozart arias were as if made for her finely chiseled art of expression. One moment she expresses herself in fortissimo where her voice unfolds in all its maturity; the next in pianissimo verging on the edge of silence.
Björn Gustavsson, Nerikes Allehanda
New Year's Concert with Malmö Symphony Orchestra & Rainer Honeck
Lisa Larsson’s soprano is glittering, clear and elegant, perfect for Mozart.
Skånska Dagbladet, Lars-Erik Larsson
Mozart: Der Schauspieldirektor / Opera Fuoco & David Stern, Lucerne Festival
Le duo formé par les sopranos Patricia Petibon et Lisa Larsson, «sœurs ennemies», dans Le directeur de théâtre est explosif.
F.M., Classica-Répertoire
Haydn concert with Tölzer Sängerknaben & Gerhard Schmidt-Gaden, San Marco, Milan
Lisa Larsson voce d’argento: E soprattutto l’eccellente soprano Lisa Larsson che svetta argentea negli aerei melismi della «Salve Regina», toccante poi nell’«Et incarnatus» e nel «Benedictus», resi purissimi raggi di grazia e di serenità.
Gian Mario Benzing, Corriere della Sera
Haydn: Die Schöpfung / Österreichisch-ungarische Haydn-Philharmonie & Adam Fischer
Haydn Festival, Esterházy Palace
Lisa Larsson rückt ihren beweglichen Sopran ins rechte Licht und sorgt für noble Ausdrucksfarben. Viel Jubel!
Oliver A. Láng, Krone
Haydn: Die Schöpfung / I pomeriggi musicali & Antonello Manacorda, Teatro dal Verme, Milan
Lisa Larsson è stata una Eva tenerissima, molto angelica anche nel ruolo di Gabriel.
Silvia Rovati, Piazza Minerva
19th & 20th century repertoire (Mahler, Strauss, Grieg, Respighi)
Grieg: orchestral songs & Respighi: „Il tramonto“Camerata Schweiz & Graziella Contratto, Zurich Tonhalle
Mit bemerkenswerter Bühnenpräsenz und fesselndem Charme führte sie durch die Orchesterlieder. Später zeigte Lisa Larsson auch ihre dramatischen Fähigkeiten. Mit grosser Emotionalität interpretierte sie Respighis spätromantische Kante «Il tramonto».
str, Der Bund
Mahler: Symphony No. 4 / Mahler Chamber Orchestra & Daniel Harding, Lucerne Festival
Ätherisch und glockenhell, einem Engel gleich, besang sie die eigentlich derbe Vorstellung des Himmels aus der Volksliedsammlung «Des Knaben Wunderhorn».
Benjamin Herzog, Basler Zeitung
Mahler: Symphony No. 8 / Tonhalle Orchester Zürich & David Zinman / KKL Luzern
Lisa Larsson ist eine strahlende „Mater gloriosa“.
Susanne Kübler, Tages-Anzeiger
Strauss: orchestral songs / Orchestra of the Teatro Carlo Felice & Lawrence Renes
La soprano Larsson e Renes grandi interpreti di Strauss: Lisa Larsson … ha letteralmente condotto per mano il pubblico in un mondo musicale capace ancora oggi di narrare storie affascinanti e di evocare sentimenti e sensazioni profonde: com’è successo in Morgen („Domani“), una perla purissima da incorniciare, un rapimento vero e proprio per gli ascoltatori.
Corriere mercantile
Strauss: orchestral songs / Sinfonieorchester St. Gallen & David Stern
... fünf Orchesterlieder von Strauss, in denen die schwedische Sopranistin Lisa Larsson ihr blühendes Timbre ohne Forcieren entfalten konnte: hymnisch aufjauchzend in der «Zuneigung», zart umschmeichelt von der Sologeige, mit geradezu elysisch entrücktem Ausrufezeichen («Morgen!»).
Bettina Kugler, St. Galler Tagblatt
Strauss: orchestral songs / Symphonisches Orchester Zürich & Christoph Escher, Zurich Tonhalle
Vokale Anmut: Lisa Larsson liess in ihren Beträgen alle Facetten ihres leichten, barock geschulten Soprans aufschimmern, beeindruckte durch eine mühelose Höhe und eine einnehmende Tiefe.
Jürg Huber, Neue Zürcher Zeitung
Opera
Stravinsky: Ann Trulove in “The Rake’s Progress” / Royal Opera Stockholm, Christian Badea
David Hockney, Lisa Larsson and Stravinsky are three good reasons to see „The Rake’s Progress“ at the Royal Opera.
Claes Wahlin, Aftonbladet
Lisa Larsson’s angelic Anne Truelove vocally stands for fulfilled interpretation with a warm focus in her bright soprano.
Sara Norling, Dagens Nyheter
Lisa Larsson as Anne Truelove is the one who impresses and engages.
operatrisen.blogg.se
Stravinsky: scene of Ann Trulove / Symphonisches Orchester Zürich & Christoph Escher
In der Schlussszene des ersten Aktes von Strawinskys «The Rake’s Progress» entfaltete Larsson ihr ganzes Ausdrucksspektrum und gestaltete den innerlichen Aufschwung von der zweifelnden Geliebten zur überzeugt Liebenden in bestechender Manier.
Jürg Huber, Neue Zürcher Zeitung
Mozart: Susanna in “Le nozze di Figaro” / Grand Théâtre de Genève & Julia Jones
Indeed Larsson (Susanna) was perfect in technique in her “Deh veni…” her timbre is perfect for the role.
Zoltan Bécsi, ConcertoNet.com
Britten: Tytania in „A Midsummer Night’s Dream“ / Glyndebourne Festival & David Atherton
Lisa Larsson’s silvery tone as Titania reflects the quality of the alternative world in which she moves.
Michael Church, The Scotsman
The Swedish soprano Lisa Larsson glitters away as Tytania.
John Allison, The Times
Lisa Larsson’s glittering coloratura Tytania was at her best…
Michael Kennedy, Sunday Telegraph
David Hockney, Lisa Larsson and Stravinsky are three good reasons to see „The Rake’s Progress“ at the Royal Opera.
Claes Wahlin, Aftonbladet
Lisa Larsson’s angelic Anne Truelove vocally stands for fulfilled interpretation with a warm focus in her bright soprano.
Sara Norling, Dagens Nyheter
Lisa Larsson as Anne Truelove is the one who impresses and engages.
operatrisen.blogg.se
Stravinsky: scene of Ann Trulove / Symphonisches Orchester Zürich & Christoph Escher
In der Schlussszene des ersten Aktes von Strawinskys «The Rake’s Progress» entfaltete Larsson ihr ganzes Ausdrucksspektrum und gestaltete den innerlichen Aufschwung von der zweifelnden Geliebten zur überzeugt Liebenden in bestechender Manier.
Jürg Huber, Neue Zürcher Zeitung
Mozart: Susanna in “Le nozze di Figaro” / Grand Théâtre de Genève & Julia Jones
Indeed Larsson (Susanna) was perfect in technique in her “Deh veni…” her timbre is perfect for the role.
Zoltan Bécsi, ConcertoNet.com
Britten: Tytania in „A Midsummer Night’s Dream“ / Glyndebourne Festival & David Atherton
Lisa Larsson’s silvery tone as Titania reflects the quality of the alternative world in which she moves.
Michael Church, The Scotsman
The Swedish soprano Lisa Larsson glitters away as Tytania.
John Allison, The Times
Lisa Larsson’s glittering coloratura Tytania was at her best…
Michael Kennedy, Sunday Telegraph
Recordings
Hector Berlioz: Herminie, La Captive, La Mort de Cléopâtre
Arnhem Philharmonic Orchestra, Antonello Manaconda
Challenge Classics, 2013
Guido van Oorschot in De Volkskrant, May 28, 2014:
→ original review
Lisa Larsson daydreams with Berlioz Hector Berlioz missed his goal a couple of times before he finally won the Prix de Rome in 1830 at the age of twenty. The winning piece, the cantata La Mort de Sardanapale, is not his most intriguing composition. It is quite understandable that head conductor Antonello Manacorda and the Arnhem Philharmonic Orchestra did not include the piece on their beautiful Berlioz CD. There was still plenty of wonderful music for the Swedish soprano Lisa Larsson to choose from. She sings the title roles in the solo cantatas Herminie and La Mort de Cléopâtre. Larsson has a blessed voice, beautifully focused, steeped in colour and can rely on a resilient legato. The most surprising is an unknown piece by Berlioz, La Captive, a reverie to lyrics by Victor Hugo. An imprisoned woman daydreams about gypsy songs, young fellows and a bed of Spanish moss. Conductor Manacorda wraps the Arnhem Philharmonic Orchestra around it like an exciting nightgown.
Jan de Kruijff in Musicalifeiten, May 2014:
→ original review
Swedish soprano Lisa Larsson, who worked for Challenge in the past on several recordings of Bach cantatas and the Weihnachtsoratorium as well as Mozart’s operas Il sogno de Scipione, Don Giovanni and Le Nozze di Figaro, is now focusing on the Romantic French repertoire. It is extremely interesting to not only hear clear pre-echoes of the Symphonie Fantastique but also of Cassandra’s fateful story in Herminie, an exceptional composition dated 1828 and just as intriguing as La Mort de Cléopâtre composed a year later. Larsson gives a good depiction of that fateful character in her performance, at least as good as Delunsch in the past (Harmonia Mundi HMC 90.1522). Cleopatra’s longing and despair are also clearly audible in Larsson’s tone, thus bringing the scene to life more dramatically than the more aloof and almost overly warm sounding mezzo of Janet Baker (EMI 769.544-2). The Swedish soprano also captures precisely the right tone to anticipate the opera Les Troyens. The third orchestra song on this CD is La Captive to lyrics by Victor Hugo. Once again a lovely song where Larsson, resounding clearly as a kind of warm vocal aurora borealis, manages to capture the true essence of Berlioz’ specific form of romanticism. Compare it with Von Otter (DG 445.823-2) or Gens (Virgin 545.422-2). We can also be very proud of the extremely committed and finely executed accompaniment of the Arnhem Philharmonic Orchestra, which finally had another opportunity to perform for a larger audience. This then is precisely why the programme could well have been a bit longer with such additions as La Belle Voyageuse, Le Matin, La Mort d’Ophélie and La Belle Isabeau. Good material for what will hopefully be Larsson’s next performance.
Ladies First!
Joseph Haydn: Scena di Berenice, Arianna a Naxos
Arias from L’anima del filosofo, L’isola disabitata,
L’infedeltà delusa, La Methilde ritrovata
Combattimento Consort Amsterdam, Jan Willem de Vriend
(Challenge Classics)
“Voici un enregistrement dont les superlatifs me manquent pour vanter sa beauté. On ne sait plus quels termes employer pour citer l’intelligence musicale, la beauté du timbre de la soprano Lisa Larsson. Les deux cantates de cet enregistrement, Scena di Berenice et Arianna a Naxos, sont ici des petits bijoux d’interprétation. Les divers autres arias d’opéra sont ciselés telle de la fine dentelle. Fabuleux!“
Bernard Niedda, Péché de Classique
Mozart: Don Giovanni / Mahler Chamber Orchestra, Daniel Harding (Virgin Classics)
"Lisa Larsson makes a silkily mercurial Zerlina. Her 'Batti, batti' is excellent."
Joanne Sydney Lessner, Opera and Oratorio
Mozart: Il sogno di Scipione / Freiburger Barockorchester, Gottfried von der Goltz (Astrée)
"Larsson is all spitfire pyrotechnics."
Clive Portbury, BBC Music Magazine
"Lisa Larsson’s bright, light soprano conveys all the egotistical fickleness of Fortuna, switching musical moods with spirit and spice and negotiating all her vocal fireworks deftly."
Joanne Sydney Lessner, Opera News
Arnhem Philharmonic Orchestra, Antonello Manaconda
Challenge Classics, 2013
Guido van Oorschot in De Volkskrant, May 28, 2014:
→ original review
Lisa Larsson daydreams with Berlioz Hector Berlioz missed his goal a couple of times before he finally won the Prix de Rome in 1830 at the age of twenty. The winning piece, the cantata La Mort de Sardanapale, is not his most intriguing composition. It is quite understandable that head conductor Antonello Manacorda and the Arnhem Philharmonic Orchestra did not include the piece on their beautiful Berlioz CD. There was still plenty of wonderful music for the Swedish soprano Lisa Larsson to choose from. She sings the title roles in the solo cantatas Herminie and La Mort de Cléopâtre. Larsson has a blessed voice, beautifully focused, steeped in colour and can rely on a resilient legato. The most surprising is an unknown piece by Berlioz, La Captive, a reverie to lyrics by Victor Hugo. An imprisoned woman daydreams about gypsy songs, young fellows and a bed of Spanish moss. Conductor Manacorda wraps the Arnhem Philharmonic Orchestra around it like an exciting nightgown.
Jan de Kruijff in Musicalifeiten, May 2014:
→ original review
Swedish soprano Lisa Larsson, who worked for Challenge in the past on several recordings of Bach cantatas and the Weihnachtsoratorium as well as Mozart’s operas Il sogno de Scipione, Don Giovanni and Le Nozze di Figaro, is now focusing on the Romantic French repertoire. It is extremely interesting to not only hear clear pre-echoes of the Symphonie Fantastique but also of Cassandra’s fateful story in Herminie, an exceptional composition dated 1828 and just as intriguing as La Mort de Cléopâtre composed a year later. Larsson gives a good depiction of that fateful character in her performance, at least as good as Delunsch in the past (Harmonia Mundi HMC 90.1522). Cleopatra’s longing and despair are also clearly audible in Larsson’s tone, thus bringing the scene to life more dramatically than the more aloof and almost overly warm sounding mezzo of Janet Baker (EMI 769.544-2). The Swedish soprano also captures precisely the right tone to anticipate the opera Les Troyens. The third orchestra song on this CD is La Captive to lyrics by Victor Hugo. Once again a lovely song where Larsson, resounding clearly as a kind of warm vocal aurora borealis, manages to capture the true essence of Berlioz’ specific form of romanticism. Compare it with Von Otter (DG 445.823-2) or Gens (Virgin 545.422-2). We can also be very proud of the extremely committed and finely executed accompaniment of the Arnhem Philharmonic Orchestra, which finally had another opportunity to perform for a larger audience. This then is precisely why the programme could well have been a bit longer with such additions as La Belle Voyageuse, Le Matin, La Mort d’Ophélie and La Belle Isabeau. Good material for what will hopefully be Larsson’s next performance.
Ladies First!
Joseph Haydn: Scena di Berenice, Arianna a Naxos
Arias from L’anima del filosofo, L’isola disabitata,
L’infedeltà delusa, La Methilde ritrovata
Combattimento Consort Amsterdam, Jan Willem de Vriend
(Challenge Classics)
“Voici un enregistrement dont les superlatifs me manquent pour vanter sa beauté. On ne sait plus quels termes employer pour citer l’intelligence musicale, la beauté du timbre de la soprano Lisa Larsson. Les deux cantates de cet enregistrement, Scena di Berenice et Arianna a Naxos, sont ici des petits bijoux d’interprétation. Les divers autres arias d’opéra sont ciselés telle de la fine dentelle. Fabuleux!“
Bernard Niedda, Péché de Classique
Mozart: Don Giovanni / Mahler Chamber Orchestra, Daniel Harding (Virgin Classics)
"Lisa Larsson makes a silkily mercurial Zerlina. Her 'Batti, batti' is excellent."
Joanne Sydney Lessner, Opera and Oratorio
Mozart: Il sogno di Scipione / Freiburger Barockorchester, Gottfried von der Goltz (Astrée)
"Larsson is all spitfire pyrotechnics."
Clive Portbury, BBC Music Magazine
"Lisa Larsson’s bright, light soprano conveys all the egotistical fickleness of Fortuna, switching musical moods with spirit and spice and negotiating all her vocal fireworks deftly."
Joanne Sydney Lessner, Opera News