Occasionally there is something interesting to read in Gramophone magazine, like this review of Sento Brillar, a Handel collection by Vesselina Kasarova.
"Volatile or excitable dramatic situations suit Kasarova's bulging mannerisms better than the slower, gentler arias, which are spoilt by excessive rubato and lumpy articulation (eg the ghastliest 'Scherza Infida' on record)."
It's always fun to read stuff like this. On my iPod I have two recordings of "Scherza Infida," one by Lorraine Hunt Lieberson and the other from Furore with Joyce DiDonato. They are quite different, but both are interesting.
Lorraine attacks the aria with great vehemence and focuses on her tone and emotion to make her effects. That is what you want her for. She shines especially in heavier, sadder repertoire. This performance with piano is weighty.
Joyce is new for me. There is a bright clarity to her singing that is very attractive. Her tempo is slower, her concept sweeter. I like a singer who can achieve a dark color and bright vowels together. Yes, I know this is too technical. One can't really help hearing how it is done. For me Furore is highly recommended.
Donizetti Opera Festival: L’Ange De Nisida
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