“This fall has seen a remarkable outpouring of albums by female opera singers,” writes Charles Michener. “The majority of them, as it happens, are not sopranos but mezzo-sopranos; we’re living in an age when, curiously, many of the most interesting female voices belong not to the leading ladies who impersonate the tragic heroines around which most operatic plots creak, but to a powerful group of slightly lower-voiced women who rival, and frequently outstrip, the prima donnas for vocal charisma.”