Cheap Haydn: Piercing Eyes (Music) (Franz Joseph Haydn, Victoria Livengood, William Lewis) Price

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Customer Reviews of Haydn: Piercing Eyes

Livengood is a find
I didn't know about this Metropolitan Opera mezzo, and despite the notes in the CD booklet, most other Americans don't yet either. Too bad, as this is a luscious voice, perhaps even better suited for Verdi and the dramatic mezzo material than Haydn. Yet this elegant, understated reading of Haydn songs is all the more impressive because the voice is perhaps not the one we'd immediately associate with the music.
The Albany label also features her on a new release I've not heard yet--an AIDS requiem by James Adler and she must be moving in that assignment as well. Meantime, this sounds a most handsome CD, and one that can be recommended highly.

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As written by John Patrick Schutz in "Applause! Applause!
Volume IV, Issue 4 of "Applause! Applause!" magazine.

"Piercing Eyes - 14 English Canzonettas" - Victoria Livengood CD Review (Albany Records) reviewed by John Patrick Schutz

Usually, the mention of the term "Art Song" causes me to twitch, bringing me back to my College days when I had to sit through every student song recital and try to stay awake through ripe cherries, "Caro Mio Ben" or heavy-handed German Lieder. "Piercing Eyes", however, managed to catch my

attention on several levels. The fact that all 14 pieces are written by Haydn was of interest, since Art Song was not a major component of Haydn's work. Haydn wrote these Canzonettas on a visit to England in 1794 and his lyric collaborator was, more interestingly, a woman, the English Poet Ann Hunter. The combination of a composer of Haydn's reputation in collaboration with a contemporary female lyricist make this song collection important on an historic level. Hunter's lyrics are both fascinating and evocative, and very much from a woman's point of view.

It is however, the honey-rich tones of Mezzo-Soprano Victoria Livengood that spark the most interest in this unusual song collection. Livengood is a favorite of Metropolitan Opera audiences for roles such as Giulietta in "Les Contes d'Hoffmann", Maddelena in "Rigoletto", Myrtle Wilson in "The Great Gatsby" and Prince Orlovsky in "Die Fledermaus"; and her Carmen is renowned world-wide. Frequently compared to Rise Stevens; with a fuller voice than Cecilia Bartoli and clearer tones than Denyce Graves, Livengood is certainly poised on the edge of superstardom in the world of Opera. Livengood uses the depth and clarity of her voice to full effect in "Piercing Eyes", where with simple piano accompaniment by William Lewis, she exquisitely interprets Hunter and Haydn's canzonettas. A fine actress as well as singer, Livengood evokes the intense longing necessary for "A Pastoral Song" and "O Tuneful Voice", and the barely contained sensuality of "Pleasing Pain". She conveys both sorrow ("Despair") and joy ("The Mermaid's Song") with outstanding facility. Victoria Livengood certainly breathes life and emotion into each and every song.

"Piercing Eyes" is a remarkable paean to a hidden treasure, and would be an ideal holiday gift for the serious music historian, average classical music buff, or student of women's literature. The album would be a perfect accompaniment for a mid-winter brunch or lazy summer afternoon in a hammock. ... .