Come on you opera fans ! Help this ignoramus of all things operatic. Who do you think is now, and who do you think was, the greatest mezzo soprano and why? And do you have a favourite recording of this diva to recommend?

My uncle's a big fan of Janet Baker. He bought me a compilation CD of some of her finest concert performances a while back (she did grand opera, certainly, but also concert recitals as well, of course) and I'd have to rate her extremely highly.
As to a specific recording to recommend, well, I don't know her repertoire well enough though I do admire her voice. Her most famous role was as Dido in Berlioz's 'Les Troyens' of course, but others here will no doubd be more forthcoming. Hope this helps a little though.

A pity no one's followed up this thread for I'm sure I could learn a lot from some of our posters here. I saw Janet Baker deliver a couple of fine speeches not too long ago when she was Chancellor of the University of York over there in England. A fine performance, truly. Had she been a little younger and could have led a singalong, I bet she'd have had us all dancing in the aisles.

Help, anyone? I saw Janet Baker do her final performance in opera. It was in Gluck's Orfeo ed Eurydice at Glyndebourne.My opera buff friend, a Glyndebourne member, described it as 'her farewell squawk' The production was directed by Peter Hall and was quite the best production of any opera I've ever seen. It is available on VHS, if you are keen enough.

I am not really qualified to contribute, I am afraid. Singing in the 'classical'(?) style is an area about which I know very little, and I too, will be most interested to read anything which is posted here, as I might learn something in this area! My only serious contribution will be slightly negative, but here goes...

Occasionally I here a voice (register immaterial) which is bang in tune, and I can hear every pitch, spot on. Most of the time, particularly in coloratura passages (operatic) or baroque sequential runs, the intonation can be out at very many random points by a semitone or even more. This renders perception of pitch, and indeed the actual notes, at best doubtful and at worst misconstrued. The degree of reputation and acclaim accorded to the singer seem to have no bearing on the accuracy of the intonation. I have heard the most dreadfully ambiguous performances from highly acclaimed individuals on more occasions than I care to remember, followed by wildly ecstatic ovations, which leave me absolutely mystified.

Were string players to allow themselves the degree of, shall we say, generosity of intonational tolerance, vibrato and note-centering which I hear from most solo singers, they would be out on their (not very praiseworthy) ears. Unfortunately, I seem to be in a very, very small minority here. If I am missing the point somewhere, then I know that I am in the right area of AP to be corrected smartly. But my first demand of any singer, regardless of style is intonation. I always know for certain which note Rod Stewart, to take just one instance, is producing. Likewise Elton John, Ella Fitzgerald, Amelita Galli-Curci, Frank Sinatra, Joan Baez and Julie Andrews.

Most opera and oratorio soloists do not hit all of the notes which they produce so proudly and loudly, in the centre, at least to my ears. I seem unable to communicate this fact to most of my colleagues and friends. Either they polarise, and say that I need to listen 'differently', or they say that they cannot stand 'singing & singers', preferring symphonic or instrumental masterpieces to overrated and overpaid prima donnas of all three sexes (male, female, and those working both shifts).

Only after I am satisfied beyond any doubt that I know exactly which notes the singer is attempting to produce, can I then relax sufficiently to start to appreciate the qualities of interpretation, drama, taste, phrasing, and all of the other essentials which apply to those making music in all of its forms.

I know that I have deviated slightly from the original request from you, Fred, for opinions on favourite mezzo sopranos, but it seems as good a place as any to discuss your specific point in a somewhat wider context. Do you demand perfect accuracy in intonation in the vocal area, or do matters of drama, quality of voice and interpretative insight take precedence? Maybe being a pianist, where vibrato is nonexistent, affects my attitude to singing intonation unduly, although Chopin, maybe the greatest-ever composer for the piano (OK, we will not debate that here!) adored great singing & opera.

Nevertheless I stick by my earlier point. Purely from my personal point of view, if intonation is haphazard, other qualities become largely meaningless. Please write at some length and comment on this, Fred, Colin JR, VivienneHa et al, if you have the enthusiasm to do so!

Ritz...

Wow!! I couldn't hope to follow your comments, Ritz; I'm hopelessly out of my depth here. But I've researched what you say a little bit, and have come up with some fascinating sites and references. Look at this:

"With perfect pitch you're able to recognize a tone as, say, A, but there's a range within that A," says Joanna Maurer, the violinist ... who is a member of the American Chamber Players. In actual musical performance, especially with a group, she explains, "Perfect pitch does not mean perfect intonation. It's the right combination within a note's range that leads to good intonation."

Wow!! I've read too about mouthpieces and their role on perfect intonation when playing the clarinet, and about the advantage of tonal-language speakers (such as Mandarin) in seeking and achieving pefect intonation of the voice. Interesting and worth debating, but I'm out of my depth on this one.

quote:

Please write at some length and comment on this, Fred, Colin JR, VivienneHa et al,

OK, since you so cordially asked.

In regard to the original question, I would choose Frederika von Stade. Among her many recordings, I would point especially to her Cherubino in Mozart's Le Nozze di Figaro.
Her "Voi che sapete" and "Non so più" are to die for. See the link
http://www.youtube.com/watch?v=x66UhqsLa7U

As for the question of intonation and vocal music. That will take me time to answer.

quote:

if intonation is haphazard, other qualities become largely meaningless.

Yes, I believe so. Some of the greatest of singers had the worst pitch...I am thinking of Callas and Tebaldi as examples. But the human voice is not a string or a reed. Having sung choral music for some time, I know how the ear can play tricks. So, while I have little time for standing ovations for mediocrity, which seems to be far too common, I'm willing to give the benefit of the doubt to a 437 instead of a 440.