Meditation, mezzo-soprano Elina Garanca's 2014 release on Deutsche Grammophon, is an album of serene vocal and choral works that express religious feelings with an operatic touch and showcase the Latvian singer's warm and radiant voice. Choosing pieces from the early Baroque era to contemporary works, Garanca presents a soothing program that is consistent in its comforting tone and gentle treatment, though as a purely musical consideration, it tends to flow a bit too evenly and predictably. Insofar as the selections represent the Christian tradition, including settings of the Ave Maria, the Salve Regina, the Sanctus, the Agnus Dei, and the Regina Coeli, the character of the collection admits little variety, except for the general alternation between penitential and quietly ecstatic moods.
"…It's a lovely voice, with special lustre at the top (…) Her scale-work and grupetti could be a lesson to many (clear articulation of the most rapid passagework without aspirates or other non-legato devices). She is a singer with already some illustrious achievements to her name and she thoroughly deserves the opportunities of a promotion such as this." ~Grammophone
Elīna Garanča’s personal choice of her greatest tracks, released to coincide with her receiving an Echo Award (6 October) & the publication of her memoirs in December. Ten years ago she made her sensational début at the Salzburg Festival, singing the role of Annio in Mozart’s Clemenza di Tito. Since then Elīna Garanča has become one of the greatest, most sought-after mezzo-sopranos in the world.
In Romantique, Elīna Garanča makes a smashing return to the studio and puts her imprint upon the big Romantic repertory, brilliantly portraying such different heroines as Tchaikovsky’s Joan of Arc (The Maid of Orléans), Gounod’s Sapho and Saint-Saëns’ Dalila
Elîna Garanča’s supple, seductive mezzo is aflame with the neon hues and rhythmic dash of Romany in excerpts from beguiling Gypsy roles in opera and operetta. Stand alone numbers add to the panache of Habanera.
The young Latvian mezzo Elina Garanca makes her recital debut on the label with a delightful programme of Mozart arias, interweaving five of Mozart’s brilliant and demanding concert arias, including the supremely taxing ‘Ch’io mi scordi di te’ with extracts from La finta giardiniera, La clemenza di Tito and Così fan tutte. Well-known for her engaging stage performances as Dorabella Elina has chosen also to include Fiordiligi’s dazzling ‘Come scoglio’.
This is a beatifully sung, but, on the whole, unremarkable performance.
Elina Garanca is the highlight in the title role. She exhibits a lovely voice, excellent technique and beguiling acting. Indeed, she's the best part of this persentation. Lawrence Brownlee sings beautifully, but it's hard to overlook the disadvantages of his stature. His Dandini towers over him and even Cenerentola is much taller than he.By S. Wells (California)
With her sensational role debut at the Vienna State Opera, superstar diva Anna Netrebko displays a performance of rare vocal and dramatic power. The Russian soprano sings the role of the unjustly accused second wife of British King Henry VIII, ‘veering between indignant fury and tender righteousness’ and demonstrating a new level of confidence in her technique with excellent ‘passagework, particularly in trills, and seamless runs even to the lowest notes’ (Opera News).