Vania Vatralova-Stankov - Operatic
Favourites Vincenzo BELLINI (1801 – 1835) Norma Casta Diva [6:38] Gaetano DONIZETTI (1797 – 1848) Anna Bolena Piangete voi? … Al dolce guidami [8:56] Giuseppe VERDI (1813 – 1901) La traviata E strano … Follie, follie … Sempre libera [7:35] Giacomo PUCCINI (1858 – 1924) La bohème Si, mi chiamano Mimi [5:07] Tosca Vissi d’arte [3:30] Gianni Schicchi O mio babbino caro [2:41] Turandot Signore ascolta [2:45] Georges BIZET (1838 – 1875) Carmen Je dis que rien ne m’êpouvante [6:43] Charles GOUNOD (1818 – 1893) Faust Ah! Je ris de me voir si en ce miroir [5:32] Romeo et Juliette Je veux vivre dans le rêve [4:02]
Sofia Symphony Orchestra/Noël Tredinnick
rec. Sofia, Bulgaria, 7-9 April 2008 GEGA
NEW GD341 [53:33]
young Bulgarian soprano Vania Vatralova-Stankov started
taking violin lessons at the age of five. At the same time
she also began vocal training, leading eventually to her
graduating from the Dobri Hristov College of Music in both
violin and singing. Today she concentrates on her singing
career. She is a resident of the UK and has appeared with
opera companies as well as in concert. For this recital
disc she has chosen arias from operas in which she has
sung on stage. These include La traviata, in which
she made her debut with the Royal Opera School Company.
She has also sung in Carmen, Anna Bolena, Rusalka,
Don Giovanni and Così fan tutte.
from her roles she is primarily a lyric soprano, even though Anna
Bolena requires a spinto voice and Norma definitely
a dramatic voice. Since her role in Don Giovanni has
been Donna Anna, it seems that her aspirations are towards
rather meaty parts. Judging from a recording is far from
easy but my first impression was of a rather large voice
with a natural vibrancy. She lacks the steely top notes
of a spinto however – that may come later – and she seems
most comfortable in the lyrical roles. The second stanza
of Norma’s Casta Diva is sung with a great deal
of restraint, which isn’t at all unbecoming. She has a
good legato and the final notes are sung on a fine diminuendo.
Anna Bolena’s great aria is also well sung. As Violetta
in the first act of La traviata she is required
to execute some rather testing florid singing and though
she is no coloratura she manages Sempre libera without
making unduly heavy weather of the runs.
seems better suited to her vocal equipment at the moment
and she makes Mimi a vulnerable creature … which she should
be. Tosca’s Vissi d’arte might be on the heavy side
but this is a good reading, in spite of some unsteadiness.
In Lauretta’s O mio babbino caro there were some
metallic intruding sounds that I couldn’t identify, probably
not emanating from the singer but from the microphones.
The best singing of all comes in Liù’s Signore ascolta,
where she conveys warmth as well as anxiety.
in Carmen is one of her roles on stage but here
she sounds more insecure and the vibrato widens alarmingly
at the climax. She draws a believable psychological portrait
of the innocent girl, however. The two Gounod arias are
well sung with a light and jolly Juliette in Je veux
vivre. Here, though, as in a couple of other places,
the reading would have gained from more intensity from
the orchestra. The Sofia Symphony Orchestra play as well
as the conductor allows them to but it is all a bit smoothed
is a promising recital debut. With further experience I
am sure Vania Vatralova-Stankov will be even more of an
asset for many an opera house.
inlay has biographical notes in Bulgarian and English but
no texts or comments on the music. This is of little importance
with a repertoire that most collectors will already have
in numerous versions. The recording is good without being
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