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Sinful Women - Arias by Massenet, Saint-Saëns, Stravinsky, Wagner et al. / Dagmar Pecková, mzz.; Slovak Philharmonic Chorus & Orch.; Markovic

Album Summary

>Massenet, Jules : Marie-Magdeleine
>Saint-Saëns, Camille : Samson et Dalila
>Massenet, Jules : Hérodiade
>Stravinsky, Igor : Oedipus Rex
>Cherubini, Luigi : Medea
>Wagner, Richard : Parsifal
>Strauss, Richard : Salome
>Strauss, Richard : Elektra, Op. 58
>Mariotte, Antione : Salomé
Performers Conductor Ensembles Composers

Notes & Reviews:

The provocative title of the new album by the feted mezzo-soprano Dagmar Pecková reflects a remarkable dramaturgic idea: that which connects the life of modern humans with the heroines of Antique mythology is the principle of sin - and forgiveness. This is perhaps why all the featured characters are smart and strong women, some of them even endowed with supernatural abilities. Women determined to apply the boldest means so as to gain that which they long for - or to take revenge. Women betrayed by a ruse or wounded by their own love. The very first aria featured, that of Massenet's Marie-Magdeleine, opens the scope for the message - that the only way out of sin is forgiveness. "When you look at mezzo-soprano characters, virtually all of them can be branded sinners. Perhaps it is owing to the darker voice colour..." says Dagmar Pecková. As rendered by her on the present album, each of the "sinful women" is profoundly treated in psychological and emotional terms. This profundity and inspiration is based on the soloist's own professional experience and is also the fruit of the collaboration with the accompanying Slovak Philharmonic Orchestra, under the uncompromising and masterful baton of Aleksandar Markovic. Love, sin and forgiveness. An insight into the mysterious female soul.

BBC Music Magazine, September 2015
Dagmar Peckova's voice has evolved from strong and stylish Mozartian into a richly powerful instrument whose darkly sensuous hues are ideally suited to the lusher late Romantics... her hollow-toned, haunting Klytaemnestra is the finest performance here.

Gramophone Magazine, July 2015
Vocally Peckova's dark contralto-ish mezzo is in good shape throughout...Tone and supportive vocal colour seem to count more for her than pure text...Throughout the programme we hear superbly and cleanly executed run-throughs, but it is oftem Markovic's players who provide the real dramatic thrust (try the end of Elektra here).

Notes & Reviews:

Recording information: Studio of Slovak Philharmonic Orchestra, Bratislava (2014-09-02_2014-09-04&2014-).



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Works Details

>Massenet, Jules : Marie-Magdeleine :: O mes soeurs
  • Performer: Dagmar Peckova (Mezzo Soprano)
  • Conductor: Aleksandar Markovic
  • Ensemble: Slovak Philharmonic Orchestraá
  • Notes: Studio of Slovak Philharmonic Orchestra, Bratislava (2014-09-02_2014-09-04&2014-)
  • Running Time: 5 min. 46 sec.
  • Period Time: Post Romantic
  • Form: Opera/Operetta

>Saint-Saëns, Camille : Samson et Dalila :: Act 2. Mon coeur s'ouvre a ta voix
  • Performer: Dagmar Peckova (Mezzo Soprano)
  • Conductor: Aleksandar Markovic
  • Ensemble: Slovak Philharmonic Chorusá
  • Notes: Studio of Slovak Philharmonic Orchestra, Bratislava (2014-09-02_2014-09-04&2014-)
  • Running Time: 6 min. 27 sec.
  • Period Time: Post Romantic
  • Form: Opera/Operetta
  • Written: 1859-1877

>Saint-Saëns, Camille : Samson et Dalila :: Bacchanale
  • Conductor: Aleksandar Markovic
  • Notes: Studio of Slovak Philharmonic Orchestra, Bratislava (2014-09-02_2014-09-04&2014-)
  • Running Time: 6 min. 54 sec.
  • Period Time: Post Romantic
  • Form: Opera/Operetta
  • Written: 1859-1877

>Massenet, Jules : Hérodiade :: Act 2. Ne me refuse pas
  • Performer: Dagmar Peckova (Mezzo Soprano)
  • Conductor: Aleksandar Markovic
  • Notes: Studio of Slovak Philharmonic Orchestra, Bratislava (2014-09-02_2014-09-04&2014-)
  • Running Time: 4 min. 22 sec.
  • Period Time: Post Romantic
  • Form: Opera/Operetta

>Stravinsky, Igor : Oedipus Rex :: Nonn' erubescite, reges
  • Performer: Dagmar Peckova (Mezzo Soprano)
  • Conductor: Aleksandar Markovic
  • Notes: Studio of Slovak Philharmonic Orchestra, Bratislava (2014-09-02_2014-09-04&2014-)
  • Running Time: 6 min. 45 sec.
  • Period Time: Modern
  • Form: Opera/Operetta
  • Written: 1927

>Cherubini, Luigi : Medea :: Act 3. Del fiero duol che il cor mi frange
  • Performer: Dagmar Peckova (Mezzo Soprano)
  • Conductor: Aleksandar Markovic
  • Notes: Studio of Slovak Philharmonic Orchestra, Bratislava (2014-09-02_2014-09-04&2014-)
  • Running Time: 4 min. 28 sec.
  • Period Time: Romantic
  • Form: Opera/Operetta
  • Written: circa 1797

>Wagner, Richard : Parsifal :: Act 2. Ich sah das Kind
  • Performer: Dagmar Peckova (Mezzo Soprano)
  • Conductor: Aleksandar Markovic
  • Notes: Studio of Slovak Philharmonic Orchestra, Bratislava (2014-09-02_2014-09-04&2014-)
  • Running Time: 5 min. 36 sec.
  • Period Time: Romantic
  • Form: Opera/Operetta
  • Written: 1878-1882

>Strauss, Richard : Salome :: Dance of the seven veils
  • Conductor: Aleksandar Markovic
  • Notes: Studio of Slovak Philharmonic Orchestra, Bratislava (2014-09-02_2014-09-04&2014-)
  • Running Time: 9 min. 25 sec.
  • Period Time: Post Romantic
  • Form: Opera/Operetta
  • Written: 1903-1905

>Strauss, Richard : Elektra, Op. 58 :: Ich habe keine guten Nächte
  • Performers: Dagmar Peckova (Mezzo Soprano); Ivana Veberova
  • Conductor: Aleksandar Markovic
  • Notes: Studio of Slovak Philharmonic Orchestra, Bratislava (2014-09-02_2014-09-04&2014-)
  • Running Time: 6 min. 50 sec.
  • Period Time: Post Romantic
  • Form: Opera/Operetta
  • Written: 1906-1908

>Mariotte, Antione : Salomé :: Final Scene. Ah! Je baiserai ta bouche, Iokanaan
  • Performers: Peter Mikulás; Dagmar Peckova (Mezzo Soprano)
  • Conductor: Aleksandar Markovic
  • Notes: Studio of Slovak Philharmonic Orchestra, Bratislava (2014-09-02_2014-09-04&2014-)
  • Running Time: 11 min. 19 sec.
  • Period Time: Contemporary
  • Form: Opera/Operetta