Yesterday, I posted a Baroque interpretation of “Plaisir d’amour” and a modern rendition, sung by Marian Anderson. Conductor Arturo Toscanini said of Marian Anderson that she had a voice “heard once in a hundred years” (Marian Anderson).
A century is a very long time, but Marian Anderson’s performance of “Plaisir d’amour” brought me greater pleasure than the more authentic Baroque version. I liked the slower pace, but particularly charming was Marian Anderson’s ability to sing the highest notes with minimum obvious recourse to the various techniques used by most mezzo-sopranos or sopranos.
This comment is in praise of Marian Anderson. I am in no way criticizing Poème Harmonique artists who are thorough professionals and perform to perfection. But how can one demand of the very best of sopranos to match a voice “heard once in a hundred years.”
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a viola da gamba resembles a cello