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Songplay

Joyce DiDonato (mezzo), Steve Barnett (percussion), Jimmy Madison (drums), Craig Terry (piano/harpsichord), Chuck Israels (double bass), Charlie Porter (trumpet/flugelhorn), Lautaro Greco (bandonéon)

Songplay

Awards:

The real twist here is that DiDonato retains the ‘formality’ of her operatic sound and delivery while attempting to apply a jazzer’s instincts. So her singerly embellishments rub shoulders with...

Songplay

Joyce DiDonato (mezzo), Steve Barnett (percussion), Jimmy Madison (drums), Craig Terry (piano/harpsichord), Chuck Israels (double bass), Charlie Porter (trumpet/flugelhorn), Lautaro Greco (bandonéon)

Purchase product

96 kHz, 24 bit, FLAC/ALAC/WAV

$15.00

44.1 kHz, 16 bit, FLAC/ALAC/WAV

$13.00

320 kbps, MP3

$10.00

This release includes a digital booklet

Stream now Hi-RES 96 kHz, 24 bit

Awards:

The real twist here is that DiDonato retains the ‘formality’ of her operatic sound and delivery while attempting to apply a jazzer’s instincts. So her singerly embellishments rub shoulders with...

About

Joyce DiDonato greets you with a song in her heart and twinkle in her eye. The American mezzo-soprano’s album Songplay unites world-class musicians from the varied worlds of opera, jazz and tango in the pure pleasure of improvisation, experimentation and exchange. Together they create their own musical language, surprising listeners with timeless melodies transformed and universal stories retold over centuries; songs in English, in Italian and – naturally – in the universal language of music.

Contents and tracklist

Arsilda, regina di Ponto, RV 700, Act 1: "Col piacer della mia fede" (Nicandro)
Track length5:05
Giustino, RV 717, Act 1: "Vedrò con mio diletto" (Anastasio)
Track length5:30

Spotlight on this release

Awards and reviews

  • Opus Klassik Awards
    2019
    Winner - Female Singer of the Year
  • Grammy Awards
    62nd Awards (2019)
    Winner - Best Classical Solo Vocal Album
  • Grammy Awards
    62nd Awards (2019)

March 2019

The real twist here is that DiDonato retains the ‘formality’ of her operatic sound and delivery while attempting to apply a jazzer’s instincts. So her singerly embellishments rub shoulders with jazz improv to achieve a deliberately provocative and (to my mind) unsettling dynamic...The Italian numbers generally sound happier than the American ones.

May 2019

DiDonato’s intent to revive the playful, liberating potential behind singing about love immediately is apparent... The ensemble’s performance is nothing short of exemplary, too, begging return plays of DiDonato’s adventurous exploration of the canon...
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