Pavel Baleff, conductor
The Verdi album by Krassimira Stoyanova is a true gem. Even those who had never heard before the amazing Bulgarian soprano can easily guess that she is an interpreter with great temperament and sound technique.
Verdi can be called a “one feeling album”, because the heroines are caught in moments of extreme desperation, except in the case of Di tale amor, che dirsi, cabaletta of Tacea la notte placida (though Leonora already evokes in it her unlucky fate), so that Stoyanova creates more nuances of the same state of mind rather than express different feelings. This, however, does not involve any repetition. In the first aria, Ritorna vincitor!, Stoyanova makes Aida an ethereal and sublime character, in extreme despair, but without tears, who reaches the height in the prayer Numi, pietà!
It is Leonora in the next D’amor sull’ali rosee who displays an emotion that Aida’s rarefied singing cannot reach. There is another kind of anguish in Morrò, ma prima in grazia: here is a mother who implores and the initial «Morrò» is sufficient to characterize all the aria, which has its true climax at the other extreme, in the end, with the heartbreaking «che mai più non vedrà», emphasized by the orchestra. Tacea la notte placida, with its brilliant cabaletta, is a completely different matter and here Stoyanova gives a proof of absolutely impeccable virtuosity.
It is clear that desperation fits wonderfully the warm, resonant and homogeneous voice of the Bulgarian soprano, that is remarkable for her long breaths, which allow her to phrase with great refinement, while her singing pays special attention to each sentence, almost every word, with many (but never inappropriate) personal accents. Stoyanova is thus a first-rate singer, destined to shine in this repertoire.