The disc begins with Butterfly's famous "Un bel di" and closes with her heartbreaking death scene. Eaglen's resplendent voice illuminates every note, soaring triumphantly and effortlessly over the orchestra. The top range especially is glorious; there are numerous thrilling high B-flats, B's, and C's. Her voice is a bit heavy for the lightness of "Un bel di" and the coloratura in "Mefistofele," but Eaglen projects Marguerite's madness with extraordinary empathy. Though renowned primarily for her dramatic roles, she seems to have the strongest affinity for the lyrical, mournful arias here. Sister Angelica's lament for her dead child, Adriana's somber resignation, and Santuzza's aching sorrow are especially memorable. Butterfly's death is perhaps the disc's highlight, both for the intensity of expression and the glorious singing. It is, of course, very difficult to create operatic characters in excerpts performed out of context. There is not enough differentiation between these very dissimilar heroines, but Jane Eaglen's incomparable voice and emotional honesty make one long to hear her bring them fully to life in the opera house. --Edith Eisler
This CD focuses on the work of the incomparable Giacomo Puccini, presenting seven arias from five operas. Granted, I have a bias here because of my admiration of this composer's work, nonetheless I would unequivocally state that these arias find hitherto unexplored dimensions with the emotional and vocal agility of Eaglen. Her voice embracing "Che tua madre" is especially moving.
With Tosca we again experience "Vissi d'arte," now transformed into a poignant prayer. Turandot is, of course, without peer and "In questa reggia" the perfect vehicle for Eaglen to showcase her vocal amplitude and passion.
Richly delivered, magnificent arias, what more could one ask?
- Gail Cooke
She has stage experience of many of these roles - I've been fortunate enough to her her Tosca, Turandot and Gioconda live. The main drawback of this disc for me is the relative lack of involvement Eaglen seems to show. No matter how red-blooded and passionate these Italian ladies are, they just don't seem to float Eaglen's boat in the same way that her Wagnerian ladies do. Some of the excerpts are touching, such as those from Madama Butterfly (real bitterness as well as sorrow) and Gioconda. However, too often one has the feeling that she is simply singing words without attaching real meanings to them, and I suspect that this is partly to do with Carlo Rizzi's deeply uninspiring (and he a native Italian!!) conducting.
So most of the pleasures of this disc are vocal. And what pleasures! How many other sopranos can you name who can sing "In Questa Reggia" without appearing to bat an eyelid? Ditto "Suicido"? There is admirable control of all registers and a blessed lack of wobble. I enjoyed the "Edgar" excerpt (ably accompanied by the Royal Opera Chorus) and her Santuzza. The voice is simply too large for some of the most delicate pieces (I listened to "Io son l'umile ancella" alongside Renee Fleming's version and I'm afraid Fleming's exquisite control won hands down) but by and large she makes an intoxicating sound.
So - a flawed recording and one that doesn't do full justice to a highly impressive singer. But certainly one for her fans and really impressive listening for voice-fanciers. However, nothing really beats trhe thrill of hearing a voice like this in the theatre.
