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Ewa Maria Podleś was a Polish coloratura contralto singer renowned for her extraordinary vocal agility and an impressive range spanning over three octaves. Born in Warsaw in 1952, Podleś's career took her to the world's most prestigious stages, including the Metropolitan Opera, Teatro alla Scala, and the Royal Opera House. She was celebrated for her performances in Rossini roles such as Rosina in "Il barbiere di Siviglia" and the title roles in "La Cenerentola" and "Tancredi." Her unique voice also allowed her to excel in Handel's castrato roles, like Rinaldo and Giulio Cesare. Podleś's powerful and versatile voice made her one of the most authentic contraltos of her generation, earning her widespread acclaim from critics and audiences alike. Her legacy continues to inspire, showcasing the incredible potential of the contralto voice.
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Ewa Podles, the renowned Polish mezzo-soprano, presents a captivating album that masterfully blends the orchestral brilliance of Witold Lutosławski's "Concerto for Orchestra" with the hauntingly beautiful vocal pieces from Karol Szymanowski's "3 Fragments, Op. 5." Released on November 20, 2015, under the Accentus Music label, this 46-minute opera album is a testament to Podles' extraordinary vocal prowess and her deep connection with these iconic Polish composers.
The album opens with Lutosławski's "Concerto for Orchestra," a three-movement work that showcases the composer's innovative use of orchestration and rhythm. The first movement, "Intrada," sets the stage with its dramatic and energetic opening, while the second movement, "Capriccio notturno e arioso," offers a more introspective and lyrical contrast. The final movement, "Passacaglia, toccata e corale," brings the concerto to a powerful and triumphant close.
Following the concerto, Podles turns her attention to Szymanowski's "3 Fragments, Op. 5," a collection of three songs that highlight the composer's unique blend of Polish folk music and modernist harmonies. Podles' interpretation of these pieces is nothing short of breathtaking, as she effortlessly navigates the complex melodies and emotional depth of each song. From the tender and melancholic "Moja pieśń wieczorna" to the powerful and dramatic "Jestem i płaczę," Podles' voice shines with a rare combination of technical precision and emotional resonance.
The album concludes with "Święty Boże," the final fragment from Szymanowski's Op. 5, a prayer-like piece that offers a moment of quiet reflection and spiritual contemplation. Podles' performance of this piece is a fitting end to an album that is as much a journey of the soul as it is a showcase of her extraordinary vocal abilities.
Throughout the album, Podles is accompanied by the Warsaw Philharmonic Orchestra, under the direction of Jacek Kaspszyk. The orchestra's playing is impeccable, providing a rich and nuanced backdrop to Podles' singing. The recording quality is excellent, with a clear and balanced sound that allows the listener to fully appreciate the subtleties of both the vocal and instrumental performances.
In summary, this album is a must-listen for anyone interested in Polish classical music, as well as for fans of Ewa Podles' extraordinary voice. It is a powerful and moving testament to the enduring legacy of Lutosławski and Szymanowski, and a testament to Podles' ability to bring these works to life with such passion and artistry.