I really have a limited understanding of some CD reviews, the use of certain terms or adjectives tells me nothing and I come away baffled; help is needed.

Browsing through BBCMM their disc of the month is Bellini's La sonnambula featuring Natalie Dessay, comparing with Callas (of whom I have a 1955 LP of arias form the opera). I've understood, I think, Christopher Cook's comparison and Dessay's performance could be a more exciting experience, should make very interesting listening. Anyone comment?

The part of the review which I didn't understand was when Cook said, in favour of  "the orchestra has to lean into the composer's long-limbed melodies and not stretch them" but later says "nothing here is rushed".


John W

That sounds to me as though the two comments are in agreement with one another.  Orchestra not rushing = orchestra stretching?

I'm not sure I'd ever use the phrase "long-limbed" to describe Bellini's melodies.  "Long-breathed", yes; however "long-limbed" is clearly intended to mean "of extended grace" but to my mind only succeeds in suggesting quite the opposite - ungainliness.

I think Rossini primarily stole material for re-use from himself, so I don't think his lightness of finger is especially reprehensible?    

I'm rather with JW here...  I don't find "long-limbed" to be a particularly useful epithet for Bellini's melodies either! 

Dessay and Callas are two extraordinarily different voices, though...  I wonder what Bellini would have expected from his soloist in this role, and what kind of voice he ideally wanted?   I like Dessay in lighter and coloratura roles,  but I wonder if she really has the "guns" for Sonnambula?  Or am I coming to this with post-Callas expectations?   What I really mean by this is that I can't see how Dessay's voice - although I'm sure she can sing the notes - would have the dynamic and timbral range to keep the interest and display the spectrum of emotions involved?  Maybe that can be doctored in the studio?  But on stage?