# Lise Davidsen



## Becca (Feb 5, 2015)

This evening I read a very positive review of a new disc by the young Norwegian soprano , Lise Davidsen where she does scenes from Tannhauser & Ariadne auf Naxos along with Strauss' Four Last Songs. That prompted me to see what could be found on Spotify and I was quite struck by the timbre of the voice. I would like to see what some of our voice experts have to say about her so here is "Es gibt ein Reich" from Ariadne from March 2017.

If you want to hear a bit more, one of the Four Last Songs with the Philharmonia/Salonen is on Spotify.

P.S. She originally trained as a mezzo before transitioning to soprano.


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## Duncan (Feb 8, 2019)

https://www.theguardian.com/music/2017/jun/18/lise-davidsen-glyndebourne-ariadne-strauss-awards

Q: You are described as a lyric dramatic soprano, which is…?

A: I always say it's a younger version of a dramatic soprano, which is to do with range and colour - the range is big, and the tones are darker than you'd usually think of a soprano voice. I very often get to play queens or women of high status, rather than maids! There are many great roles, but at my age I'm still not ready to sing them. Ask me again in about 10 years…

Q: But you started out as a mezzo-soprano, a lower-voice type…

A: Yes, but not as a professional. I studied at first as a mezzo, and had always sung that voice in choirs. Then at college, my teacher said, "Lise, you're not a mezzo, you're a soprano," and I said, "No, I'm not! Really, I'm a mezzo!" and she said, "No, you're absolutely not." And so it went on… It was a little bit of a crisis for me, just as when I'd switched from baroque music to singing romantic opera. The mezzo roles are so different you start thinking of yourself in that way - this is the kind of singer I am; this is what I might be playing. But once my teacher said it, I realized she was right. The voice has its own way of telling you… you have to follow it.









*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_m5GeN9WWrICGiuwGh4DtdJQozW9WaXRkQ


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## wkasimer (Jun 5, 2017)

Becca said:


> If you want to hear a bit more, one of the Four Last Songs with the Philharmonia/Salonen is on Spotify.


Actually, the entire CD is now available on Spotify.

I'm listening to it now. She has a full, reasonably attractive tone (and I'm not surprised that she began as a mezzo), but I immediately hear a particular mannerism that sets my teeth on edge. She often attacks notes without vibrato, with the tone becoming fuller with a natural vibrato. It's something that many singers do occasionally for effect, but I think that Davidsen overuses it.

I've only listened to the two Tannhäuser excerpts; I'll be interested to hear what she does with the VLL.

EDIT: The mannerism that I describe is particularly noticeable in "Allmächt'ge Jungfrau".


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## wkasimer (Jun 5, 2017)

I've finished listening to Davidsen's CD. Throughout, I found that mannerism intrusive, and don't think that I'll be listening to this CD again. It's a shame, because I think that her voice is of the right weight for much of the music, even if I prefer a somewhat narrower vibrato, a purer tone in the VLL.


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## wkasimer (Jun 5, 2017)

Here's a more positive review, from Presto's website:

https://www.prestomusic.com/classic...e-week-lise-davidsen-sings-wagner-and-strauss


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## Malx (Jun 18, 2017)

wkasimer said:


> I've finished listening to Davidsen's CD. Throughout, I found that mannerism intrusive, and don't think that I'll be listening to this CD again. It's a shame, because I think that her voice is of the right weight for much of the music, even if I prefer a somewhat narrower vibrato, a purer tone in the VLL.


I tend to agree Bill, whilst I couldn't articulate the issues I was hearing as well as you have I wasn't overly impressed.
I listened to the Four Last songs via Spotify earlier this morning, a work I have fourteen recordings of and it didn't cross my mind to add this recording to my collection.


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## haydnguy (Oct 13, 2008)

Oh no, I just bought that CD!


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## philoctetes (Jun 15, 2017)

haydnguy said:


> Oh no, I just bought that CD!


Well, the good news is that Salonen and the Philharmonic sound pretty nice... otherwise I'm with the nay-sayers... that swelling tapered vibrato goes from soft to loud and there's no mezzo dynamic... and her tonal coloring changes in ways I don't like... and yeah she sounds more mezzo than soprano... if opera was ESPN they'd be saying c'mon man...


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## Rogerx (Apr 27, 2018)

haydnguy said:


> Oh no, I just bought that CD!


Mine goes back, not even opened yet.


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## haydnguy (Oct 13, 2008)

Rogerx said:


> Mine goes back, not even opened yet.


I'll have to wait until it gets here. It's not here yet.


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## Malx (Jun 18, 2017)

haydnguy said:


> Oh no, I just bought that CD!


At least listen on youtube or Spotify - we all have different tastes after all.


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## wkasimer (Jun 5, 2017)

Malx said:


> At least listen on youtube or Spotify - we all have different tastes after all.


Exactly right. I didn't intend to make up anyone else's mind for them. But the VLL discography is pretty crowded at the top.


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## haydnguy (Oct 13, 2008)

I appreciate everyone's thoughts. There seems to be a consensus that it could be better so my money is probably better spent elsewhere. Again, thank you for the feedback.


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## Larkenfield (Jun 5, 2017)

I hear some dark overtones in her voice that I would associate more with being a mezzo and sometimes she does not sound entirely comfortable in the upper range of her voice. I like her voice but she may still be making the transition from being a mezzo to a soprano. I just do not feel that she's entirely comfortable with the upper range of her voice and nailing the pitches. But I do not dislike her and I believe that she would good taking on Wagner. I like her vibrato that is not too wide but still deep. I believe it's not enough just to have the range of a soprano, you have to comfortably and accurately hear in that range rather than in the mezzo range. Good luck to her. I hope she likes the roles for sopranos! - because there's a great psychological adjustment too.


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## haydnguy (Oct 13, 2008)

Larkenfield said:


> I hear some dark overtones in her voice that I would associate more with being a mezzo and sometimes she does not sound entirely comfortable in the upper range of her voice. I like her voice but she may still be making the transition from being a mezzo to a soprano. I just do not feel that she's entirely comfortable with the upper range of her voice and nailing the pitches. But I do not dislike her and I believe that she would good taking on Wagner. I like her vibrato that is not too wide but still deep. I believe it's not enough just to have the range of a soprano, you have to comfortably and accurately hear in that range rather than in the mezzo range. Good luck to her. I hope she likes the roles for sopranos! - because there's a great psychological adjustment too.


Would you recommend or no?


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## Hermastersvoice (Oct 15, 2018)

She sang Medea at Wexford 2 seasons ago, and was magnificent. Regrettably, the production did neither her nor the opera any favours. It was one of few faux pas of Wexford festival in recent years. We didn’t even applaud after her big first act aria.


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## haydnguy (Oct 13, 2008)

I may go ahead and keep it. Amazon used to make it very easy to return things, now it's a pain. I"m sur e it's not THAT bad (especially to my ears). If I can't find an easy way to return it I'll keep it. :cheers:


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## Clouds Weep Snowflakes (Feb 24, 2019)

I'm familiar with the "four last songs", and this is beautiful! Anything else from her?


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## Duncan (Feb 8, 2019)

haydnguy said:


> Would you recommend or no?


Not that I'm the one that you asked but since you've put the question out there it's fair game for an answer...

I purchased it and intend to keep it...

And will in all likelihood continue to purchase her future recordings as we have a unique opportunity to observe an artist (which is quite distinct from a craftsman) develop and evolve over time.

Be open-minded and willing to hear new voices - not just in the sense of "vocals" but also in the sense of the unique "voices" that all performers bring to the stage.

Being close-minded and intolerant of that which is different or unique or unknown is just the worst sort of foolishness and is unworthy of anyone who wishes to be taken seriously as a listener of music or a reader of literature or a patron of any of the arts.

Wkasimer merits respect both for taking the time to actually listen to the disc and to then write a clearly articulated review in which he offered both praise and criticism which was unique to his listening experience. He then offered a more positive review in a genuine attempt to be fair minded and went one step further by attempting to advise other listeners not to be unduly influenced by his review.

A word on "consensus"... give some serious and I do mean serious thought as to who actually comprises that "consensus" as knowledge and expertise have not been dispensed equally upon all members of the forum...

One's reputation is a reflection of one's collective body of work and one person's thoughtful well-reasoned expression of a thought or idea or opinion can be of far more inherent value than that of any ten others.


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## Duncan (Feb 8, 2019)

Clouds Weep Snowflakes said:


> I'm familiar with the "four last songs", and this is beautiful! Anything else from her?











*John Frandsen: Songs for solo voice, piano & guitar*

*Lise Davidsen (soprano), Liv Oddveig Midtmageli (soprano), Morten Grove Frandsen (countertenor), Aleksander Nohr (baritone), Jesper Sivebaek (guitar), Sofia Wilkman (piano) & Orsi Fajger (piano)*

*Link to complete album - *

https://www.youtube.com/playlist?list=PLX5Q7DTflsLyb13PqqfXYv5px9Os0ZYfh


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## wkasimer (Jun 5, 2017)

haydnguy said:


> Would you recommend or no?


Even with my largely negative review, I would recommend that at the very least, you should try to hear it for yourself - you may not share my opinion. But the more important reason is that it's always worth listening to and supporting musicians who are actively performing. I may love Lucia Popp's VLL, but she's not coming to my local concert hall again.

BTW, I found a recording of a broadcast of the VLL that Davidsen sang last year in Copenhagen, which I found vastly more satisfactory in every respect - just as much voice, but less mannerism and more imaginatively interpreted. Based on this, and reviews I've read of her live performances, I suspect that like many singers, particularly those with sizable voices, she's much better heard live than on record. In fact, when it comes to music that requires some vocal heft - Wagner in particular - I've learned to be suspicious of singers who sound good on recordings, because as often as not, I'm disappointed when I hear them in the flesh.

So - I can only hope that Davidsen sings in Boston soon, so I can hear how she really sings and sounds.


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## Becca (Feb 5, 2015)

Mollie John said:


> Not that I'm the one that you asked but since you've put the question out there it's fair game for an answer...
> 
> I purchased it and intend to keep it...
> 
> ...


I will give this the 'Post of (at least the first half of) 2019' award


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