Felicity Lott (Soprano)
New York Times, February 2006
Dame Felicity’s easygoing, engaging performance made it seem as if moving through such an imaginative and wide-ranging program were easy. But it wouldn’t have worked as well for a singer with a less cosmopolitan sense of style. Dame Felicity, whose voice still sounds supple at close range some 30 years into her career, has the technique to shift with apparent effortlessness between the acid cabaret style of early Weill and the greater formality of Haydn, Mozart and Brahms, the studied simplicity of Britten’s folksong settings and the suave urbanity of Roussel, Fauré and Duparc songs.
Selection of repertoire
|Chausson||Poème de l´amour et de la mer|