"Maybe this just isn't my taste. But what a horrid voice! I've never heard the like before. She sings the music so slowly that the weaving virtuosic lines with twists and turns are completely lost to the listener. Why does she add incessant vibrato to every single semi-quaver? There is no feeling of musical line in the way she sings, instead she hits out every note as if with a hammer. I also find her cadenzas 'unusual' and do not make much musical sense. This for me is music that really does sound like the farmyard.
I know I seem harsh, but as a musician I was surprised this was even recorded. It reminded of Joyce Grenfell. Maybe this is the Italian version. Even the orchestra play very blandly and are forced to pull back so that thie singer can fit in her melismatic runs. As a previous reviewer said, Patrizia Ciofi is a better choice or even Cecilia Bartoli who is a master at Vivaldi. Perhaps Im just not used to this style of singing, but Baroque melismas need to flow and move somewhere like elaborate ornaments not be spat out like a phuematic drill.
I think she could sing big Romantic operatic material with flair but her voice really does not suit this music.
Sorry, but not my cup of tea :("
Nella Anfuso nightingale
Tomas Victoria | Spain | 04/17/2006
(5 out of 5 stars)
"I have all CDs "Opus Anfuso". I love her song as contralto and soprano at the same time, I love her "pathetic song". Nella Anfuso demonstrates her most diverse aspects of her vocal art: the legato and knowledgeable use of rubato and fiorituras, the appoggiaturas, the pureness and "aereit?" of the acute notes, fantasy that creates long cadences that unravel in an extraordinary variety of textures, acute ascending and descending volatinas with perfect intonation. And the passion always: Vivaldi or Monteverdi or Porpora or Farinello or Caccini or Frottole (XV century) et cetera."
Terrible!
M. Montenegro | mexico | 12/03/2005
(1 out of 5 stars)
"Nella Anfuso is presented as a musicologist and singer... well, as a singer she is one of the most terrible voices I have ever heard. stay away, thera are great recordings of this material, try Patrizia Ciofi motets cd. You will be very pleased."
Unbelievably bad
M. Tietjen | Syracuse, NY, USA | 04/24/2007
(1 out of 5 stars)
"It sounds like I'm being horribly mean, but I have never heard such wretched singing in my life--and I went to a second-rate music school. Nella Anfuso is presented as an "authentic" early music singer and musicologist, but this is anything but authentic. If you want true authenticity, try the English early music school exemplified by Emma Kirkby, Deborah York, or Catherine Bott, or, if you don't mind a little bit of modern vocal practice creeping in, Patrizia Ciofi, or better yet Simone Kermes. Actually, try ANYTHING but this. Listening to Anfuso sing, especially florid passages, reminds me of nothing so much as someone accidentally stepping on a poodle. Coloratura comes out as little yips getting progressively more off-pitch. There is no sense of line, and although there are some very good early music specialists who are not straight tone singers (Kermes, Ciofi, Vivica Genaux, even Emma Kirkby isn't completely straight tone), you could drive a truck through this woman's vibrato. And where does an "authentic" early music musicologist get the idea that all baroque coloratura was not only aspirated, but staccato? All in all, a royal mess--and one to avoid at all costs. Even Florence Foster Jenkins was at least funny; Nella Anfuso is an insult to baroque singers."
The authentic Vivaldian Song by Nella Anfuso
Antoine Gallois | Paris FRANCE | 04/14/2006
(5 out of 5 stars)
"I like the song of Nella Anfuso. The voice of Nella is wonderful. What impresses in the performance is the splendid art of "portar la voce" (ex. motet Nulla in mundo) that realizes a song in which dominates a full and sustained "portamento" of rare beauty and expressiveness enriched by brief ornamental "accents". And also in the "Alleluia" the marvellous "spiccati". For me is a superlative pleasure."