Hahaha David... You may have a point! To put things into perspective, we are talking here about a very young Tania D'Althann, probably in her late teens or early twenties, on a work with melodic embelishments which are devilishly difficult to render with precision... I do not fault D'Althann for the minor issues... Nor of course the M925 for evidencing them. My only beef is with the recording engineer who took undue liberties with his console, and monkeied around with the reverb pot, just to enhance what D'althann was already masterful on her very own.
If I remember correctly, the CD is copyrighted 1982, but might have been recorded as early as 1978, perhaps a time where recording engineering flights of fancy would be masked by most sound reproduction equipment.
It is interesting that the engineer appears to have lavished his disruptive attentions on D'Althann, because the voice of countertenor Giuseppe Zambon, who uses the same approximate voice range for his selections, is unaffected, and always sounds completely natural.
On a happier note, at approximately 120 hours, the sweetening of the residual steeliness is detectable only in traces, while the singer's image has continued to solidify.
Saluti, G.
If I remember correctly, the CD is copyrighted 1982, but might have been recorded as early as 1978, perhaps a time where recording engineering flights of fancy would be masked by most sound reproduction equipment.
It is interesting that the engineer appears to have lavished his disruptive attentions on D'Althann, because the voice of countertenor Giuseppe Zambon, who uses the same approximate voice range for his selections, is unaffected, and always sounds completely natural.
On a happier note, at approximately 120 hours, the sweetening of the residual steeliness is detectable only in traces, while the singer's image has continued to solidify.
Saluti, G.