In short, brilliant performances, and Anna Netrebko showed once more how inspiring this great singing actress can make of a performance to be.
In short, brilliant performances, and Anna Netrebko showed once more how inspiring this great singing actress can make of a performance to be. The title role of Manrico was sung by Yonghoon Lee in the first five performances I attended three of which and Antonello Palombi in the last one which I attended as well. Between the two, Lee was the one with a better and more consistent instrument, but Palombi had a more suitable instrument and better sense of the style.
Having dominated this role for years, Dima showed everything one could expect from a completely mature artist. It was so clear that not only audience appreciated the opportunity to see him again, he himself also appreciated the opportunity to perform again. He gave his best, and it was touching. Vitaliy Bilyy certainly cannot match Dima on charisma and artistry.
But his solid voice, technique, and musicianship showed that he would have a good future. How great it is to have a almost legend as Dorola Zajick to sing Azucena at this point she is the mezzo having sung the most amount of Azucena in MET history!
Surely the voice had some age and wear, but is preserved well mostly. And what a powerhouse voice it is! Character-wise, she may not be the kind of singer that consciously digging deep into the character, but surely years of experience could have so strong impact, that every thing just came out so naturally. Marco Armiliato was in the pit conducting. For my experience, he always tried his best to support singers onstage, never having the ego to overshadow them.
Basically, how good the orchestra can be pedants on how good the singers are. When singers onstage were a disaster, the orchestra can hardly be better than them. But here, as we had such brilliant cast, the orchestra got inspired as well. These were some best conducting of maestro Armiliato that I had heard. Many people realized that she had some newly made costume, when comparing with previous revivals of this production.
Namely, a dark pink dress with a burgundy cape outside in Act 1; then a gypsy flavored head kerchief in Act 3. Combine the effects of costume and wig, we can have already seen the development of this character--from a noble lady confined in her comfort zone with the fantasy of love and passion to a brave girl fully converting herself to the lifestyle of gypsy following the guidance of love, finally to the point to sacrifice herself for love. And the easier part is actually the vocally more demanding last act, which she got great success.
Then in the "Tu vedrai che amore in terra", in the repeating verse, she added more contracts between phrases, beginning with the first sentence more into chest than the first time singing these same notes this could be an idea she developed during the run, as it was not very obvious in final dress and opening, but more and more in later performances , to later with restrained pianissimo, as if Leonora was fascinated by her own idea, then blooming out again.
This almost felt like a great mad scene in a bel canto opera--in the sense that the heroine being extremely concentrate to her own mind. Then, in the duet with Count di Luna, she sang with urgency, but less begging than ordering. At that point, Leorona had already got to the statue that she bravely challenged the fate and faced the count spiritually superior. In Salzburg, when singing "Ah!
When reaching the point of "Ho la morte in semi! Compared to the end in which she can simply open up her voice and give out her soul, the more difficult part is actually the beginning. But what makes it more difficult is the way she chose to paint this aria. When she sang the same music in concert, she used a more straightforward way and the result was brilliant. However, when in a concert, the logic of the aria is just within itself; when in the opera, the logic must be placed in the whole plot.
Meanwhile, as Leonora is not a complete idiot or maybe she is? Thus we heard when portraying the Leorona here, she combined the feeling of insecurity and nervousness into the passion and excitement. And this is the hard part. While the character can be or, should be insecure and nervous dramatically, the singer acting the character with her voice cannot be insecure and nervous vocally.
From performance to performance, Anya sometimes found the fine balance, sometimes had both voice and drama bit to the too secure side or the other.
However, she never chose the easier way of singing it just as some beautiful music to harvest cheap praising. Still, Anya paid much attention to give the proper color to the singing.
There were two moments left me more than usual strong impression. One is in Act 2 Scene 2, that how in a short sentence of "E deggio e posso crederlo? The other is at the beginning of Act 3 Scene 2, the gloomy and urgency in the voice had already indicated her destiny, while she remained firm to what she chose.
Nervous and insecure Leonora was, but different to the one in Act 1. And should I add that when the tuning stage brought her to the stage front at this scene, the way she sat in the shadow had already brought out so much tension of the drama?
In one interview, she said there are not too much thing to act. She understood this so well, that in many places, she was just being still with tension, and let the music speak, rather than making meaningless "actings". Her body drew the line of the "fourth wall" separating the real world onstage and the unreal world off stage I had the words "real" and "unreal" at the correct positions , while in the meantime, her voice broke this "fourth wall" and involved everything into her world.
During one performance, I was sitting in a side box, with the stage on my one hand side and the most auditorium on the other side. Later in the scene, much buzz has made about her climbing the gate.
How she desperately sang "Oh ciel! But then, the more challenging part for acting was getting OFF from the gate. It was heartbroken watching her getting down slowly with the monotone "Miserere" sung by chorus in the back, as if all hope were lost.
I can keep going describing these small details that together built up the big picture. Then I may hardly finish it. So just let me stop here. Publicado por Carlos en
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