Rare Verismo Arias (Compact Disc Recording)

“Some singers invest every note with emotion.  Follman’s first attention is to the musical line, which she pushes and pulls to great effect.  The downfall of many aria recordings is that, pulled from their context, they all seem to come from the same heightened emotional state.  Follman’s performances are clearly delineated, with no two characters sounding alike.

Again, in an ideal world, a debut disc this strong would attract the attention of a major label.  But then, Follman seems to be doing rather well right now on her own.”

-- Ken Smith, Gramophone

“ARTISTIC QUALITY 8/8”

“This is a fine collection of arias we don't normally come across, presented in a full, rich recording, conducted with expertise by Yves Abel, and well-played by the English Chamber Orchestra. Robin Follman appears to be a young soprano with a good technique (even something close to a trill in the Loreley aria), nicely matched registers, a free top, the occasional desire (and ability) to sing pianissimo, and a good sense of drama. Throughout its range the voice has somewhat of a chilly edge that makes it suitable for this repertoire; contradictorily, its main problem is that it rather lacks a palette of colors, perhaps due to that edge. She uses it wisely, though, with telling portamento and rubato, and this recital is a success.

Most of these heroines are in some stage of torment (except for Suzel in L'amico Fritz, the angel in Cecilia, and the happily smoking Susanna--what a wonderful violin obbligato this aria has standing in aurally for the curling smoke!), and Follman manages to vary her expression and approach enough so that we can tell them apart. So: despite the inherent lack of warmth in the voice Follman, who is only a few years into a career, is a singer worth hearing.  In the accompanying booklet--filled, by the way, with helpful notes, texts, and translations--she thanks Renata Scotto for "sharing [her] credible knowledge and artistry." That is a fine credential. Tenor Philip Webb partners her well in the duet from Puccini's Le Villi.”

--Robert Levine, CLASSICSTODAY.COM

“Her feeling is always true and never histrionic; this is true operatic singing”

“Robin Follman is one of the best operatic singers you’ve never heard of.  That’s no lie.  I personally would usually stay away from an opera singer as beautiful as Ms. Follman, but as the old saying goes, “you can’t judge a book by its cover”;  That’s a great compliment coming from me.  I tend to look for true, profound talent that goes so much deeper than the skin, but every once in awhile I am proved wrong with someone like Ms. Follman.  Ms Follman give Angela Geroghiu, probably best known Verismo singer today, a run for her money with this stellar recording of rare Verismo arias. 

For those of you not familiar with the term Verismo, this means opera that are “true to life; these operas tend to be romantic, sentimental and extremely melodic as in Verdi, Puccini and Catalani.  We all love these opera, and don’t let any cynical, academic critic tell you any differently, chances are that when the lights are turned low and Stravinsky and Adams are put away, out will come Le Tebaldi’s rendition of “Vissi d’arte.”  Ms. Follman has smartly set about conquering the fickle world of opera by not ostracizing the fleeting ear of the mainstream market while making interesting choices for the cognoscente.  Ms. Follman’s voice quality is well beyond her years, she penetrates the ear with enough well rounded tones and dramatic inflection to betray her contemporaries, and that’s a good thing.  She hearkens back to an age when operatic voices were distinctive. 

In the opening aria from Cecilia “L’Annuncio” (Per amore di Gesu porgete il core), Ms. Follman’s voice soars majestically above the swelling sounds of the English Chamber Orchestra, discerningly conducted by Yves Abel.  This aria could easily fit into a Wagner opera, with its theatrical momentum and sense of romantic urgency.  The two arias from Puccini’s first opera “Le Villi” are a welcome treat from what we have grown to expect from that master composer of the Verismo opera.  This is where Ms. Follman flourishes with her generosity of feeling and expert vocal technique.  Her feeling is always true and never histrionic; this is true operatic singing.  Mr. Phillip Webb joins Ms. Follman on the duet “Ricordi quell che dicevi,” with his warm, gorgeous tenor voice; I’d love to hear more from him.  This is highly recommended and I look forward to hearing and seeing Ms. Follman in the future.”

-- William Gregory, Midwest Ursine