As charming a record of its kind as we have had for a long time – could it even be as long ago as that pleasantly remembered duet-recital by Caballe and Verrett, back in 1969? This new recital calls that one to mind for several reasons: for one thing it includes four of the same selections, the Norma, Anna Bolena, Hoffmann and Butterfly duets. There is also a similarity in the matching of the voices, which in both instances works well though it is not of like with like. Like Verrett’s, Larmore’s voice has more of an edge to it than the rounder tone of her partner. The Korean soprano is not a Caballe, but has certainly a most lovely purity of voice, which is particularly delightful in the seventeenth- and eighteenth-century operas as in the Lakme duet and the Butterfly. Some of the more strenuous passages in Anna Bolena cause her to lose quality a little, and hers is not an appropriate voice-character for Norma. Otherwise she is well suited and makes one wish to hear her in person.
Such a sequence of extracts, given in what seems to be a somewhat arbitrary order, may be ruled out by some of our readers on principle. Those who are more pragmatic but still hesitant may be reassured by the care taken to present the items dramatically. The scene from Anna Bolena finds the singers fully responsive to the changing emotions and developing relationship. The Madama Butterfly excerpt starts with the sighting of Pinkerton’s ship, very touchingly realized, and the Tancredi carries conviction as though part of a complete performance. Throughout, from the opening Barcarolle to the closing Evening Prayer, the singers are helped by sympathetic conducting and fine playing. The balance of voices, with each other and with the orchestra, has for the most part been well judged.
The booklet provides a general introduction, some useful biographical notes, texts in the original language and, in three languages, sensible synopses placing the excerpts in context.'