I posted the contest 9 years ago, but never gave my opinion. To me, Battle takes it...by far. Her rendition exudes endless pleasure and endless love. The freshness and beauty of her voice, and the exceptional musicality displayed is unequaled. Not to take anything from the other two, but when I hear Battle's rendition, it actually wakes me up after listening to the other two.
I saw Ruth Ann sing Semele at the San Francisco Opera years ago in a fully staged baroque production. Her signing was superb, her diction and her ornamentations were beautiful. I also saw her in Handel's Julius Cesar, and in Handel's Ariodante. She was able to project and be heard in the cavernous San Francisco Opera House with beautiful sound, in my opinion a superb Handelian singer. Battle's version was my first recording of the opera, I love it. But nothing compares to a life performance of this opera with a soprano that can do it justice.
I love all three versions of this lovely aria but for me there is one above the others & [wait for it] it is Kathleen Battle.The lighter voice sounds easier to fall in love with,so clear & vibrant.The backing singers also sound as though they are really enjoying the whole scene.
I have all three of these recordings and have listened to them many times -- and I admire all three. But I agree with the majority of commentators below that Battle does it best, in part because it sounds like she is actually performing the part and putting more feeling onto it -- she "is" Semele. The others are themselves and just singing it -- very well, but ...
Fleming and Swenson obviously have a throat while Battle seems to have no throat at all. Pure floating bliss. The others are good Battle is something special.
this is a bit unfair, but since it's simply put.. 'which do you prefer and why?' I prefer the version in which the orchestral and vocal parts are essentially one whole. Two of the three versions clearly resound 'endless pleasure, endless love', but in these versions the orchestra [in both cases ....fine, fine ensembles with excellent direction] falls into the background 'clearing the path' for the voice in the typical fashion. I like the atypical one. It makes me feel pleasure..and love.
What a great idea. We have all three of these recordings at home, but I haven't listened to them side by side like this. All 3 are great, but Battle's speaks to me the best. What a shame how that all turned out for her. Then Swenson, then Fleming. I think Fleming is the best around, but this performance of the Handel was disappointing to me; she put a little too much of her signature self into it instead of letting the purity of the music come through. I get a sense that the other two singers let Handel shine first.
Swenson is the heaviest by far! If you think Battle is too light, then you would have to choose Fleming! The last note if Swenson's wasn't even on pitch, it was under!
Battle is the lighter voice. Fleming is much more a real lyric almost to spinto. Certainly Battle could never do Tatiana in "Onegin" which Fleming does admirably...so Purcell's Semele may be more suited to a lighter voice. That being said I saw Ruth Anne do the role at SF Opera and she was excellent.
Swenson "heaviest by far!"!!! Try to listen again! Well; Fleming is not bad at all but i still perfer Ruth Ann (the, almost, last note is quit perfect and the style as well!). My problem with Battle is her "charming" voice; only charming one. Anyway i respect your choice; please do the same ;-)
i love swenson so much but feel her's was too heavy. I find it reallly funny each of them pronounced the 'sure' of pleasure differently. haha i guess a lot of different diction coaches! definitely battle is the winner...except i disagree with her pronunciation of the 'sure' haha
It's a good thing Battle is so good because hers is backed by an inferior orchestra. In some ways, it makes her outstanding singing stand out. I intensely disliked the chorus comes in at the end. On a recording of baroque chamber repertoire, I want to hear splendid balance of singer and band. Recording with Orchestra of the Age of Enlightenment is a privilege. Fleming and Swenson and whoever produced their recordings clearly know that, and made the most of it.
I posted the contest 9 years ago, but never gave my opinion. To me, Battle takes it...by far. Her rendition exudes endless pleasure and endless love. The freshness and beauty of her voice, and the exceptional musicality displayed is unequaled. Not to take anything from the other two, but when I hear Battle's rendition, it actually wakes me up after listening to the other two.
Absolutely agree!
All three are wonderful in their own way. Each performance has jewels studded into it and I can't choose :-)
A magical voice I see stars every time I hear this most beautiful voice 🤙
I saw Ruth Ann sing Semele at the San Francisco Opera years ago in a fully staged baroque production. Her signing was superb, her diction and her ornamentations were beautiful. I also saw her in Handel's Julius Cesar, and in Handel's Ariodante. She was able to project and be heard in the cavernous San Francisco Opera House with beautiful sound, in my opinion a superb Handelian singer. Battle's version was my first recording of the opera, I love it. But nothing compares to a life performance of this opera with a soprano that can do it justice.
I love all three versions of this lovely aria but for me there is one above the others & [wait for it] it is Kathleen Battle.The lighter voice sounds easier to fall in love with,so clear & vibrant.The backing singers also sound as though they are really enjoying the whole scene.
Endless pleasure;
If mother could see the smirk on my face
LOL
I have all three of these recordings and have listened to them many times -- and I admire all three. But I agree with the majority of commentators below that Battle does it best, in part because it sounds like she is actually performing the part and putting more feeling onto it -- she "is" Semele. The others are themselves and just singing it -- very well, but ...
Fleming is, by far, my favorite! She has the best trills! (As you can see, I'm a fanatic Fleming fan!)
Battle, it's not even a contest as far as I'm concerned.
I have to say for me the order is reversed to the presentation: Battle, Swenson, Fleming.
The third one, Kathleen Battle.
Fleming and Swenson obviously have a throat while Battle seems to have no throat at all. Pure floating bliss. The others are good Battle is something special.
Oh, Battle, let it be Battle!
Kathleen Battle for sure!!!
this is a bit unfair, but since it's simply put.. 'which do you prefer and why?' I prefer the version in which the orchestral and vocal parts are essentially one whole. Two of the three versions clearly resound 'endless pleasure, endless love', but in these versions the orchestra [in both cases ....fine, fine ensembles with excellent direction] falls into the background 'clearing the path' for the voice in the typical fashion. I like the atypical one. It makes me feel pleasure..and love.
Do I really have to choose?
What a great idea. We have all three of these recordings at home, but I haven't listened to them side by side like this. All 3 are great, but Battle's speaks to me the best. What a shame how that all turned out for her. Then Swenson, then Fleming. I think Fleming is the best around, but this performance of the Handel was disappointing to me; she put a little too much of her signature self into it instead of letting the purity of the music come through. I get a sense that the other two singers let Handel shine first.
I think that Ms Fleming problem is that - being a good singer - she not always shows the right taste.....
Found out just the other day that the rhythm of this song is based on the dance called the gavotte.
Fleming to heavy, Battle to light, Swenson is perfect!( color, style, technic)
Swenson is the heaviest by far! If you think Battle is too light, then you would have to choose Fleming! The last note if Swenson's wasn't even on pitch, it was under!
Battle is the lighter voice. Fleming is much more a real lyric almost to spinto. Certainly Battle could never do Tatiana in "Onegin" which Fleming does admirably...so Purcell's Semele may be more suited to a lighter voice. That being said I saw Ruth Anne do the role at SF Opera and she was excellent.
Purcell had nothing to do with this since Handel wrote it.
Yes,Thank you. I know it was Handel, but wrote the wrong composer. Thanks for the correction.
Yeah, when I first heard her rendition I thought it was sung by a non native speaker. My favorite is Renee Fleming for sure.
Although really none of this matters because Rosemary Joshua is and will always be the best Semele ever.
Battle is Semele.
Swenson "heaviest by far!"!!! Try to listen again! Well; Fleming is not bad at all but i still perfer Ruth Ann (the, almost, last note is quit perfect and the style as well!). My problem with Battle is her "charming" voice; only charming one. Anyway i respect your choice; please do the same ;-)
Battle, by a mile.
there's no doubt, K.Battle, the more sensual and delicious
i love swenson so much but feel her's was too heavy. I find it reallly funny each of them pronounced the 'sure' of pleasure differently. haha i guess a lot of different diction coaches! definitely battle is the winner...except i disagree with her pronunciation of the 'sure' haha
It's a good thing Battle is so good because hers is backed by an inferior orchestra. In some ways, it makes her outstanding singing stand out. I intensely disliked the chorus comes in at the end. On a recording of baroque chamber repertoire, I want to hear splendid balance of singer and band. Recording with Orchestra of the Age of Enlightenment is a privilege. Fleming and Swenson and whoever produced their recordings clearly know that, and made the most of it.
Swenson takes it. Battle's is grating and, frankly, I don't know what anyone sees in Fleming.