She surely has some taste and is harsh enough in her judgement, even at not yet three years of age…
Listened with her to a recording of “Oh Lord, whose mercies numberless” (Handel, Saul) on youtube. It was a vaguely nice recording, though the splendid looks of the David could not distract from the fact that it was lacking in some parts.
[It was that recording, if you are interested…]
The orchestra and especially the director weren’t exactly a huge help, agreed. They almost exactly failed to get into that dreamy feeling of the aria, where the phrases of the strings seem to overlay and bootstrap themselves — a lot like Bach’s “Widerstehe doch der Sünde”. Every time you think that now they got the drift, the director puts in another ritardando, to ruin what she achieved during the last 16 bars.
Plus, they used a clip-microphone which was way to loud in the mix and spoilt a bit the otherwise nice, soft voice of the singer.
My daughters comments, reported, as follows:
— opening bars: “Schöner Mann!” (handsome guy. 0.o)
— ridiculous ritardando around 1:16: “Schneller!” (faster!)
— the slightly vocally over-acted “If yet his sin be not too great”, 2:35 (probably in a desperate attempt to nudge the director to get a move on): “zu laut!” (way too loud!)
— and finally: at around 3:40, “And heal his wounded soul”, where the director finally succeds in slowing to a pace where the poor singer has to breath far more often than he would like to, plus in a low range that is not his most comfortable and thus manages to turn this beautiful phrase into something tacky…: “Gruselig.” (scary) …. That sums it up nicely!
My daughter’s conclusion: “Wanna see horse again, and he who sings nice” (Cenerentola, “Sì, ritrovarla io giuro”) …… Again. A mother’s plight.
*) If you want an overall good recording, go for David Daniels’, according to my opinion.