Thursday, November 24, 2022
HomeOperaLove, loss and what she wore « parterre field

Love, loss and what she wore « parterre field


Sondra Radvanovsky ought to host a day speak present. Watching the 53-year-old soprano work together together with her public, as she did at Carnegie Corridor on November 16, one may simply think about her sandwiched between Drew Barrymore and Kelly Clarkson.

Real heat flooded throughout the footlights in each instructions. Radvanovsky eschewed the customary stuffiness of the recital format, usually talking on to the viewers and placing her choices in a extremely private context.

A gaggle of French-language songs by Henri Duparc? A nod to her longtime residency in Canada. Rachmaninov romances? Taught to her by Dmitri Hvorostovsky, God bless his soul. “Piangero la sorte mia” from Giulio Cesare? The primary aria to ever win her a singing competitors.

This system’s subtitle, “From Loss to Love,” revealed a fair larger funding within the materials. Admirably frank and filterless, Radvanovsky made it identified that 2022 has been a tough 12 months. Amid triumphs like her second opening evening on the Metropolitan Opera, she has additionally been grieving the dying of her mom and coping with a divorce. Her linguistic framing is deliberate, although. Radvanovsky desires to remind those that power, progress and resilience are byproducts of grief.

One of the best moments of the night got here when Radvanovsky engaged head-on together with her emotionality. Particularly, the world-premiere of “If I Had Identified,” an artwork track composed by Jake Heggie to the soprano’s personal textual content, was transferring with out turning maudlin. R
advanovsky wrote the phrases within the aftermath of her mom’s passing, after a protracted wrestle with dementia, they usually wrenchingly seize the gradual decline of a once-vital girl. The textual content additionally explores the tough actuality of a kid assuming the mantle of a dad or mum.

Radvanovsky carried out the temporary track with deep feeling and a welcome tenderness, as pianist Anthony Manoli executed the edgy, arpeggiated accompaniment. We had been advised that is the primary entry in a deliberate song-cycle exploring the seven levels of grief—the final of which is acceptance and hope.

The printed program’s remaining choice, “La mamma morta,” additionally suited Radvanovsky’s finest qualities whereas making a sure thematic sense. The lyrics transfer from a swarm of self-pity to the nice and cozy glow of redemption, a shift that Radvanovsky made palpable. She displayed a mastery of piano results and phrase portray, and her voluble voice sounded safe throughout its wide selection. This form of music is squarely in her consolation zone.

As a lot credit score as Radvanovsky deserves for her severe musical selections—the two-and-a-half-hour live performance included songs in 5 languages—it’s clear that she is an opera singer, initially. No single second was as thrilling as her encore of “Io son l’umile ancella,” delivered with a surprising morbidezza you hardly ever hear from the over-the-hill sopranos who so usually make this position their inventory and commerce. She ought to sing a full manufacturing whereas she nonetheless has all the products in place, together with the correct temperament.

However elsewhere, regardless of her endearing character, the night dragged. A set of Lieder by Richard Strauss was marred by muddy German diction, and too many passages in “Allerseelen” and “Morgen!” had been unnecessarily sung forte. The dexterous vocal line in Verdi’s “Stornello” appeared to trigger some grief.

Radvanovsky just isn’t the primary soprano to tackle Lizst’s Tre sonetti di Petrarca, however some slight strain in her excessive notes often marred the richness of her chest voice in these romantic choices. Dido’s Lament made for an odd, lugubrious curtain raiser, though Manoli introduced a beautiful transparency to the piano postlude.

The singing, general, stays at an admirably excessive stage, and the Carnegie crowd obtained her warmly. However on the subject of non-operatic appearances, Radvanovsky’s appeal and ease on stage usually trump the musical virtues. This contains her wardrobe: Whereas she prevented giant items of assertion jewellery, as I’ve seen her put on prior to now, her two attire advised a narrative in itself.

The marginally summary black gown she donned for the primary half of the live performance gave method to a shimmering turquoise quantity within the second. Registering the viewers being attentive to her costume change, Radvanovsky couldn’t resist making her motives clear. “We’re comfortable now,” she laughed from the stage. Loss had develop into love.

Picture: Michael Cooper



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