A first album thousand records ...

"Voice of Hope" if literally translated the title. This singer has remained true to his country that has so abused the black majority Yes, a big road traveled for Pumeza which experienced the slums of Cape Town, violence, stray bullets, but that does not deny its origins

Puccini and Mozart:
For this first album of 15 tracks, Pumeza selected three famous arias by Puccini and Mozart. Two composers who earned his first success on the operatic stage. Pumeza is accompanied by the orchestra of the Stuttgart state led by Simon Hewett.
The first air is extracted from Gianni Schicchi, one of three short operas of the Triptych "O mio babbino caro" (Oh my dear papa). An air of the character of Lauretta imploring her father to let her marry the man of her love object. What soprano has not sung? Puccini purest. The voice emerges of an evanescent melody strings and harps. Technically, no complaints. The phrasing is articulated, the voice of perfect justice tangent mezzo, the expression is overwhelming. The role seem somewhat overplayed and can become even more youthful tenderness (Ah Maria Callas). A very promising intro Pumeza by humanity and the warmth of her vocal line, with singers qualities of African origin

Continuing with an air of Turandot last opera of the Italian master: "Signore, Ascolta". An air sung by Liu, the girlfriend of Calaf, the prince who falls in love with the mysterious and cruel Princess Turandot. A subtle vibrato young woman bruised, Pumeza opts humility without mannerism. Last extracted air of Bohemia "Donde lieta USCI" a farewell song. Yet this clear voice, Mimi agrees to part with Rodolfo and singer embodies simplicity with this resignation without rending accents unfounded.

To conclude the classical register: the famous air Zerlina in Don Giovanni Mozart "Edrei, carino, se sei buonino". A clear Mozartian singing, without emphasis. Yes of course, some will have the ear ductile flexibility of a pop Lucia coloratura voice more in an incomparable word and unequaled in Mozart. I even have me to write "no picture". But I am not one of those who worship the past, bow down to the great historical voice. Otherwise we would never record anything and music will become a heritage of historic feats. I like this little Serlina me with a warm voice and tender!

Traditional songs:
In the titles of South African folk, Pumeza could to ignore the hits sung in the past by fellow elder and Miriam Makeba.

After Puccini, Pumeza moves on Thula Baba. A lullaby Xhosa and Zulu language. Symphony Orchestra Puccini gives way to an accompaniment "gender": an orchestra lightened with crystalline arpeggios of harp. Phrasing swaying, languorous. What sweetness and the tenderness. Pumeza confirms its ability to produce an acute accuracy and finesse that enchants. Any vibrato justified opera disappears in this traditional where the voice has to remain natural, everyday voice even if the stamp is meant magic

Listening we admire this fabulous ability to change according Pumeza stamps she sings Mozart or more African music where more guttural and nasal timbre are set. Its wide range allows it to stay in a registry Mezzo in folk songs (if not ethnological), where the best sopranos colatures might be pale (I mean singer Caucasian).
Decca thank you to provide us the text into phonetic accompanied by a translation in French (already that my English is poor, while Zulu)

Everyone in mind Pata Pata, the Makeba global success of 1950. For this very rhythmic song, a jazzy touch, djembes and maracas and other instruments of African origin combine with a few strings, mostly violins voluble. Pata Pata is the name of a Xhosa dance angalis which can be translated as "Touch touch" What a program! We find this song détimbré, not operatic, and then these incredible slamming languages ​​that can be produced without interrupting the singer's vocal line. A vocal percussion alone.

A pizzicato bass, maracas again the jazz universe? Yes or the great song of the US African tradition. The NAUGTY little flea (small chip ugly). Another success, but in English this time, Miriam Makeba and 1950 This is as wacky as the "song of the flea" in the Damnation of Faust by Berlioz (The chip has an important role in art musical!). New language in this album, new style, new joyful moment.

An album of 15 tracks to be discovered for those who love the game genres, the volubility of African music, the emotion of verismo melodrama. In short, a complete success.