The former Russian states of Eastern Europe have been responsible
for many of the greatest bass voices of the twentieth century.
Think the Russian Chaliapin (see
review)
and the Bulgarians Christoff (see
review)
and Ghiaurov. Of the current world-class bass voices Abdrazakov
(see
review)
and Anastassov (see
review)
stand out. Baritones from that neck of the woods have been distinctly
scarcer, with only Chernov and Leiferkus leaping to mind. The
distinction between the bass voice and the baritone only became
distinct in the repertoire with the compositions of Verdi. Before
that the generic description was bass. A composer, whether it
be Mozart or Donizetti would temper his compositions to suit
the upper register ability of the cast for whom he was writing.
Verdi and later composers put a whole new perspective on that
division.
Nowadays the baritone is considered the middle category of male
voice. Several sub-divisions exist in opera houses but are seldom
denoted by composers. The voice range lies between G an octave
and one half below middle C, to F, or even G, above. The middle
of some baritone voices will be to the lower end of the range
whilst for others the opposite will be true. In the Germanic
repertoire sub-divisions are often made with
Spielbariton (Don
Giovanni) and
Bass-Bariton (Wotan, Sachs, and The Dutchman)
being common. However, outside that repertoire, particularly
in Italian opera, no such divisions are generally made although
opera house intendants might consider some baritone voices as
being more suitable for Donizetti and the lyric Verdi roles (Germont
pére in
La Traviata and Rodrigo in
Don Carlo)
than for the composer’s heavier roles such as
Rigoletto and
Macbeth and
those called for by Puccini and the verismo league. The arias
on this discs focus on the mainstream Italian repertoire with
notable exceptions. These include the Toreador’s aria
Votre
Toast from Bizet’s
Carmen (tr.12). Sung in French
this is often taken by a singer whose middle lies in the lower
part of the baritone range and, occasionally, by a
basso cantante with
a good top. The same can be said of Mozart’s
Don Giovanni (trs
4-5) and
Figaro (tr.3).
Another contrast between the bass voice and the baritone is that
of treatment by the recording industry. In the days of LP and
early CD there was no shortage of recital discs of arias from
the Bulgarians mentioned as well as the American Sam Ramey. Recital
by baritones has been in much shorter supply. Yes, there are
collections derived from complete opera recordings, but I can
only recall a handful of bespoke baritone aria recitals recorded
by the likes of Merrill, Warren and even Gobbi. So I approached
this CD, and particularly its eclectic repertoire, with high
expectations although these were to be disappointed by Ataneli
in his performance as Iago (see
review).
The Georgian baritone Lado Ataneli has worked with some of the
world’s finest conductors and at the best operatic addresses.
The recorded sound is clear with the voice slightly recessed.
However, that slightly recessed sound cannot hide Ataneli’s
vocal shortcomings, which, regrettably, are many. First and foremost
is the dryness of his tone. It lacks much colour or cover and
whilst being forceful and strong it becomes unsteady under even
the slightest pressure. The lack of ring at the top of the voice
is evident in the opening item from Verdi’s
Attila (tr.1)
when in the cabaletta his unsteadiness tends to a wobble at the
climax and at the same point the cover to the tone thins. His
Largo
al factotum (tr.2) is better with well-articulated words
and some softer singing, although to my ears his phrasing lacks
grace. His quick patter as he addresses Figaro’s disparate
whereabouts is good.
In the Mozart arias (trs.3-5) he manages some ring to the voice
but fails to convey any sense of seductiveness as the licentious
Don (tr.4). In
Finch’han dal vino the voice spreads
when it needs to be tight and he struggles to keep up with the
tempo (tr.5). The extract from Donizetti’s
Lucia (tr.6)
reveals too many raw patches in his tone, lack of legato and
the high note is unsteady.
I need not go on except to say that his singing of the last item,
by his compatriot, is better than the rest. The measure at fifty-five
minutes is short. The recital by the mezzo-soprano Joyce DiDonato
(review shortly) is so much better vocally and also comes in
at seventy-two minutes. This issue comes with a track-related
synopsis for each excerpt and biographies of conductor, orchestra
and singer. The libretto and English translations can be accessed
at the
Naxos website.
Robert J Farr
Lado Ataneli (baritone) 
