I remember a couple of years ago when this young sweet-looking pure-toned mezzo-soprano from the Czech Republic surfaced into the world of classical music media. I first saw her on video singing Bach’s Kantate BWV 199 and was immediately converted into a Magdalena Kozena’s fan. That said, I cannot state I have been an unconditional one – I believe that the French opera disc was a bit misguided (although there is much to cherish there) and the Handel disc… well, scroll down to read what I’ve said about it. But it seems that the fickle nature of the public has turned its thumbs downwards at the moment and, as much as poor Angelina in Rossini’s La Cenerentola, her luck has suddenly changed for a while. The ease with which she has been raised to fame has now become a constant effort to prove herself, which – in my opinion – is extremely unfair. Even when she is wrong, Kozena does not have to prove herself: she has already done it and proved she belongs into the list of serious artists in her generation (I would write “…of great singers…”, but it seems that this kind of artistry is usually measured in dB and histrionics).
I don’t know how wise was the idea of singing Rossini’s Cinderella live in such an inauspicious moment in her career. I remember an old interview in which she said she did not see herself singing anything by the composer from Pesaro in the future, because she didn’t feel connected to his music (truth be said, she mentioned then that Octavian in Der Rosenkavalier would be more like it, but I guess experience probably showed this was something like a pipedream for her). The outcome couldn’t be less promising – reviews were cold at best.
I feel inclined to write that certain externalities has some share of responsibility in the lukewarm impression on Kozena’s Cenerentola. By one of those coincidences made in hell, Cecilia Bartoli happened to be in town with her Malibran-on-the-road and include the Scene and Rondo finale from… La Cenerentola in the programme. It was expected from reviewers to compare them, but when an insensible one had the bad idea of liking Kozena better, the whole legion of Bartoli-fans started a gruesome campaign against the trespasser.
As I didn’t happen to be in London, I have to rely on Parsifal‘s in-house recordings (and thank him for his generosity) to say anything. Before I say anything, I must confess the Roman Diva does not count me among her admirers but nonetheless I muss admit that she still sings the hell out of that scene. I just don’t understand why Bartoli’s so-called supremacy must mean that Kozena should be stoned for her beautiful performance. Yes, I said beautiful.
I was surprised to find, against what I should expect, her low register fully functional in that role. Also, her excursions to the extreme top notes sounded crystalline to my ears, not to mention her fioriture are admirably clean (as usual). I am not a die-hard believer in Italianate style and never resist Mozartian poise (yes, I belong to those who like Gundula Janowitz’s Elisabeth, Gwyneth Jones’s Aida, Tatiana Troyanos’s Amneris [btw, I’ll be poisting on this subject next]). However, maybe because Kozena does not has a natural feeling for Rossinian lines (as she herself has acknowledged), her performance is basically uncommunicative. She expresses little sense of infatuation in her duet with the Prince, does not convey the necessary party-stopping glamour in her arrival at the ball and is a bit mechanical in the closing scene (a slower pace might have helped her there, I reckon). However, her vocalism is always secure, musicianly and pleasant in the ear. Therefore, I consider the stern criticism against her rather mean. I would even say she was probably the must-see feature in the show: the settings are widely considered ugly, the orchestra was indisciplined (and the conductor didn’t seem worried about making things less spectacular but tidier) and although Toby Spence sang well, the role is too high and fast for his voice and the results were rather hearty than charming. Of course, Simone Alberghini is a most reliable Dandini (as he was at the Met in 2005) despite a vibrato that can get loose sometimes and Alessandro Corbelli is a most experienced and charismatic if over-the-top Don Magnifico – but one could have sampled them in many other Cenerentole around the world.