On the surface, this may seem to be another album of opera favorites. However, I suspect its raison d’être is to introduce us to several...

On the surface, this may seem to be another album of opera favorites. However, I suspect its raison d’être is to introduce us to several up-and-coming singers. The five artists, all in the early years of what promises to be successful careers, are featured in a varied mix of solos, duets, a trio, and a quartet. Each singer has assembled an impressive roster of awards, highly favorable (often rave) reviews, and a growing list of performance credits. The recording was made in 2001 (no explanation why it has taken three years to be released) when these artists were less well known than they are today. Yet, as of this writing, this album appears to be the premiere recording for Indra Thomas and Valerian Ruminski, whereas the others have now made one or two other recordings. Tenor Polenzani has also been featured in a video of Die Meistersinger. On this album, each has an opportunity to display his/her respective talents in solo material, and nine tracks are devoted to group efforts.

To hear Matthew Polenzani is reason enough to investigate this album. He is a lyric tenor of uncommon quality, with a voice that retains its beauty throughout his range. The biography in the liner notes lists many, many distinguished people he has worked with and significant venues where he has sung. On this album, he sings a suave and dashing Duke of Mantua, an ardent Faust (the crescendo and diminuendo into pianissimo at the conclusion of “Salut! Demeure chaste et pure” is first-class singing); an even more ardent Rinuccio (Gianni Schicchi) is filled with youthful passion, and his Nadir (Les pêcheurs de perles) with baritone Mariusz Kwiecien is one of the highlights of this recording.

Mariusz Kwiecien’s smooth baritone is reminiscent of Sherrill Milnes. It is dark and rich, with a nice bloom at the top. He aptly captures the pathos in the two selections from Don Carlo and plays the seducer Don Giovanni with cunning slyness. His Zerlina is Kristine Jepson, who nicely conveys the innocence and trepidations of the peasant girl befuddled by the noble man’s flattery. Ms. Jepson’s solo turn is Sesto’s recitative and aria from La clemenza di Tito, which allows us to hear her voice from top to bottom. Hers is a warm, smooth mezzo that is not particularly dark, with a bright, clear top. She is partnered in the Offenbach Barcarolle by soprano Indra Thomas. I find an assessment of soprano Thomas’s voice to be a perplexing issue. Things are fine in lower register, but as she climbs the scale, a vibrato becomes increasingly apparent. The vibrato is considerable, but inconsistently produced. On her way up the staff her timbre loses some of its beauty for a note or two, then regains its loveliness at the top, where she has a high pianissimo that is quite beautiful. Having said all this, I found that I got used to her voice, and after repeated hearings, I didn’t pay that much attention to its peculiarities. Thomas is rapidly becoming a distinguished singer. An Internet search revealed many, many glowing reviews of her concerts and performances. She has been described as the next great Verdi singer and the heir to Leontyne Price and Jessye Norman. Perhaps the microphone amplifies vocal peculiarities that are inconsequential in the opera house or concert hall, or, perhaps Ms. Thomas is not yet comfortable in the recording studio.

The two selections from the Baroque era are given to bass-baritone Valerian Ruminski. Handel and Purcell provide Mr. Ruminski with an opportunity to display his ease with ornamentation. At the other end of the operatic spectrum, he’s also at home in Puccini. Colline’s (La Bohème) farewell to his coat is deeply heartfelt.

Much of the success of this recital comes from the podium. Charles Rosekrans is sensitive to the needs of the singers, catches the disparate moods in each of these selections, and provides tempos that bring out the unique character of each piece. “A Night at the Opera” is a credit to the various artists and to Naxos, and at Naxos’s bargain price it should find a home in many opera-lover’s collections.

David L. Kirk, FANFARE