Remember when opera stars truly dazzled? Pentatone’s ‘Golden Age’ CD takes us back to that era of pure vocal prowess and show-stopping performances. Featuring Met-proven voices, this album is a charming trip down memory lane. Is it truly a golden age revisited, or just a beautiful illusion?

Pentatone’s latest offering, “Golden Age,” transports listeners to a bygone era of operatic grandeur, artfully blending irresistible nostalgia with the pristine clarity of modern recordings. Eschewing contemporary repertory, this album indulges in the timeless allure of “Met-proven voices,” evoking a hedonistic atmosphere reminiscent of opera’s most celebrated days.

The album’s concept is deeply rooted in the glamorous history of operatic showmanship, recalling a time when luminaries like Richard Tucker and Roberta Peters captivated audiences with sheer vocal prowess, whether on the grand stage or a national television show. This dedication to the past is visually reinforced by Pentatone’s retro-styled cover art, which subtly yet powerfully suggests the album’s aesthetic intentions.

Under the masterful baton of Ivan Repušić, the ensemble delivers an eclectic program of bel canto, featuring arias and duets from legendary composers such as Rossini, Donizetti, and Verdi, alongside the refined elegance of French masters like Delibes and Bizet. This carefully curated selection showcases the breadth and depth of the “classical vocal” tradition, promising a rich auditory experience.

Lawrence Brownlee, a prominent figure in contemporary opera, takes center stage with his rendition of bel canto pieces. While adept, his approach to the Rossinian idiom, particularly the intricate fioriture and soaring acuti, invites comparison to historical interpretations. The role, famously created for Rubini, demanded a unique blend of technical brilliance and expressive nuance.

Brownlee’s coloratura is undeniably smooth, and his attack pitch-perfect, demonstrating remarkable “vocal performance.” However, from a strict virtuoso standpoint, his delivery perhaps doesn’t quite capture that elusive “con un sorriso”—the charming smile contemporaries attributed to Rubini, which elevated his vocal acrobatics to the highest echelons of critical appreciation.

Despite this nuanced observation, Brownlee’s command of the dramatic edge remains unquestionable, imbuing each note with profound emotional resonance. His interpretations are a testament to his artistry, offering a compelling dialogue with the historical legacy of these roles.

Erin Morley shines brilliantly alongside Brownlee, showcasing an incomparable sheen in her voice that adds a “golden luminescence” to the album. Her synchronized performances in the Donizetti duets and Rossini’s “Le comte Ory” demonstrate a natural affinity for the composers’ styles, creating a harmonious and captivating interplay with Brownlee’s powerful delivery.

Morley’s contributions are pivotal in justifying the album’s title, “Pentatone Golden Age,” as her voice truly embodies the splendor and brilliance associated with opera’s most illustrious periods. Her nuanced interpretations and radiant tone significantly elevate the album, making it a compelling listen for any enthusiast of “opera review” and classical music.

Ultimately, “Pentatone’s Golden Age” stands as a heartfelt tribute to the enduring power and beauty of operatic artistry. It’s an album that not only celebrates the past but also reaffirms the timeless appeal of exquisite “classical vocal” performances, masterfully bridging historical reverence with contemporary excellence for a new generation of listeners.