Ben Horne

It is difficult not to love Lena Horne. Recorded when she was 77, this live CD finds the ageless singer sounding as if she were 57 at the most (and the photo of her on the cover makes her look 47). Horne talks the lyrics a little more than in the past but she cuts loose in spots with power, performs superior standards, takes part of a Duke Ellington/Billy Strayhorn medley as a duet with bassist Ben Brown and is not shy to hold long notes. on six of the songs 11 horns from the Count Basie Orchestra riff and play harmonies behind her; otherwise Horne is joined by her usual quartet with pianist Mike Renzi and guitarist Rodney Jones. The well-rounded set is Lena Horne's most rewarding recording in years.

This is a fine alternative to Christopher Hogwood’s period performance on L’Oiseau-Lyre, and will be welcomed heartily by fans of Marilyn Horne. Orlando is a great role, filled with arias and scenes acrobatic, tender, and exclamatory (he goes mad in Act 2 and stays that way for much of Act 3). In l985, when this present set was taped live at Venice’s La Fenice, Marilyn Horne was still in control of her awesome powers–her breath control, fluidity, big, round tones, impeccable diction, and sheer intelligence still astound after all these years. And she’s certainly superior to the nasty-sounding, if dramatic, James Bowman for Hogwood. Lella Cuberli’s Angelica is fine but is outclassed by Arleen Auger; however, I prefer Jeffrey Gall’s countertenor Medoro to Catherine Robbins’ girly one (both for Hogwood again).

The most comprehensive edition devoted to Gioacchino Rossini marking his 150th anniversary. Born in 1792, Rossini was the most popular opera composer of his time. Although he retired from the Opera scene in 1829, he continued to compose in other genres, including sacred music, piano and chamber works. He did gather his late works under the ironic title Péchés de vieillesse (Sins of Old Age), which veils a true collection of masterworks.