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* Orchestra of the Mikhailovsky M. Mussorgsky Opera and Ballet Theater, Anikhanov. Texts and translations. Romeo Records 7223 (Qualiton, dist.)
Olga Makarina--born in Archangel, Russia, and trained at both the St. Petersburg Conservatory and Mannes School of Music in New York--is a lovely young soprano, more soubrette than tragedienne. Her voice isn't large or heavy, and the range of color at her disposal isn't particularly broad, but she commands an arresting top extension and remarkable agility. Anyone who has experienced her work with Eve Queler's Opera Orchestra of New York, with New York City Opera or with the Met (where she stepped in for Renee Fleming in Il Pirata last season) knows that.
Unfortunately, this survey of Mozart, both profane and sacred, is more notable for ambition than for achievement. With clunky accompaniment by Andrei Anikhanov and forces of the Mussorgsky Theater in St. Petersburg, Makarina often sounds wan and thin, tight and edgy. Her scale emerges uneven, her command of Italian and German vague. When she ventures arias of Donna Anna and Donna Elvira in Don Giovanni, she sounds like a ...