Ditto Luisa Miller, a role very similar in weight to Leonora (whether critics like to acknowledge it or not). That aria requires more weight than her voice currently carries, but she still serves it well, and she and Colin Davis fill the 12 minutes (more than the average for this aria) with dramatic tension.Īs Leonora in Trovatore she is just right–Verdi would recognize the role and his heroine and applaud loudly. Her “Tu che le vanita” is more in the tradition of Freni than say, Callas, Tebaldi, or Caballé. Her coloratura ability is that of a well-schooled lyric rather than a virtuoso nonetheless, she’s excellent in Violetta’s “Sempre libera” and the cabaletta to Leonora’s first-act aria from Trovatore. Her sound is not mellow, but it’s appealing. The quality of the voice is lovely and it’s evenly produced from top to bottom (with a nice “buzz” on top notes and body in the middle) she also pays attention to the text, is careful of the composer’s dynamic markings, and can color her sound to suit the situation. Gheorghiu, Gallardo-Domas (Harnoncourt’s victim in his recent Aida), and now Barbara Frittoli. Suddenly the world is awash in lyric-going-on-spinto sopranos.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |