Every time I hear a
recording by Arleen Augér I can’t
help but reflect what a tragic loss
it was when she died in 1993 at the
grievously premature age of 53. The
head and shoulders portrait of her that
graces the cover of this CD is particularly
apposite for not only does it show her
as a most attractive woman but it also
suggests the grace, elegance and sophistication
that is consistently in evidence on
this fine CD.
Miss Augér was
a splendid Haydn singer and stylist.
I recall, for example, with particular
pleasure her standout contribution to
Simon Rattle’s EMI recording of Creation.
Here, stylishly supported by Christopher
Hogwood and his able period instrument
band her performances delight from start
to finish. There’s a great deal of very
beautiful singing to savour but there’s
also plenty of highly effective dramatic
singing, especially in the recitatives.
The two biggest pieces
are Scena di Berenice and the
cantata Arianna a Naxos. In the
former we are treated to a marvellous
range of emotions and vocal tone colourings
in the recitatives. Miss Augér
conveys very effectively the wistful
regret in the aria ‘Non partir, bell’idol
mio’ and then is suitably fiery in the
second aria, ‘Perché, se tanti
siete’. However, it’s noticeable that
even when she’s singing in full dramatic
vein beauty of line is never sacrificed
for histrionic effect.
Arianna a Naxos
was never orchestrated by Haydn
and the version presented here is a
new edition based on a conflation of
the arrangement published in Vienna
long after Haydn’s death and another
score, which is housed in the Library
of Congress. It’s a substantial piece.
In this present performance there are
some passages of melting loveliness
in the aria ‘Dove sei, mio bel tesoro’,
where Miss Augér’s singing is
full of grace mingled with pathos. She
impresses equally with her urgently
dramatic and very expressive account
of the second recitative. The concluding
aria begins most touchingly before she
rises to the heights of virtuosity in
the showy closing pages.
The cantata Miseri
noi, misera patria! appeared to
have been lost until the 1950s. It’s
a good piece, consisting of one recitative
and one aria. The latter is particularly
engaging. I love the way Miss Augér
invests the words with meaning, rolling
her Rs to great effect but without undue
exaggeration. I also relished the luminous
woodwind playing, which is typical of
the very high standard of the orchestral
contribution throughout. The fiery second
stanza of the aria is dispatched thrillingly.
The remaining two pieces
are less substantial but no less delectable.
Son pietosa, son bonina
is delightfully charming while Solo
e pensoso, composed in 1798, the
same year that Creation was first
performed, is an affectingly pensive
piece.
The support from Christopher
Hogwood and his players is excellent
at all times. The notes, jointly authored
by Mr Hogwood and H.C. Robbins Landon
are as authoritative as you’d expect
and all the Italian texts and English
translations are provided. But with
due respect to everyone else connected
with this enterprise it is for the singing
that one should buy this disc. In the
notes reference is made to Miss Augér’s
"ravishing angelic voice".
Hearing this exquisite recital, who
would disagree?
John Quinn
See also reviews by Jonathan
Woolf and Colin
Clarke
Arleen Augér (soprano) 
