Jessye Norman was a notoriously severe critic of her own work, and she rarely approved unreleased materials for reissue. The recordings here, made between the late '80s and the late '90s, were approved by
Norman's family, who have it right.
Norman objected to their release for fairly trivial reasons; in the
Strauss Four Last Songs, she was dissatisfied with a single note, although nobody could quite agree on which note it was, while the highly unusual
Benjamin Britten Phaedra, Op. 93, missed the cut because of a slightly substandard live mix, and the
Wagner Tristan und Isolde excerpts apparently brought to mind the singer's rocky relationship between
Norman and conductor
Kurt Masur. All the recordings are glorious, and it is great to have them. The
Tristan excerpts, which were studio recordings, and the
Strauss Vier letzte Lieder and
Wagner Wesendonck-Lieder, recorded live, lie directly in
Norman's sweet spot, and the live recordings are excellent for the time, whatever the singer may have thought. Perhaps the biggest surprises are the selections by
Haydn,
Berlioz, and
Britten, none a composer with whom
Norman was ever much identified. Hear these selections from a live
Boston Symphony concert under the baton of
Seiji Ozawa on the theme of Queens. The
Britten is extremely moving in its final aria, "My time's too short, Your Highness," which was true of the composer at the time.
Norman's voice is heavier than that of the work's dedicatee,
Janet Baker, but the text and the emotions are clear. The excerpts from
Haydn's late scena
Berenice, Hob. 24a/10, still an underperformed work, are especially impressive as
Norman slims her voice down in a way to which she must have been unaccustomed. This recording more than meets
Norman's objections, and it is a valuable document that reveals little-known sides of her artistic personality. ~ James Manheim