Denis Fodor wrote:

>I certainly enjoyed her singing--and the live version much more than
>the recordings I have).

I saw, in a very small lecture hall, a concert with lute and one other
singer (David Thomas), one of the best recitals I've seen.  In person,
there is a real ease, a natural flexibility that isn't well captured on
recordings, where her straighter-sound can be mic'd so badly that it seems
to just peak and can be hard on the ears.  Her florid work, even when sung
in the Opera House where I saw her another time, in Handel, is beautiful to
hear but will 'work' best in intimate settings and groups.  I remember we
were amazed at what she did with her songs but critics complained about the
bird-like voice.  Contrary to many notes I've seen in the past, she does
use vibrato but mainly as an ornament and at the end of longer notes.

The one time I heard her use far too little was in the recorded set of the
beautiful F.Couperin Lecons d Tenebre, with Judith Nelson.

Andrys in Berkeley
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