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Quiet please, there’s a woman on stage


David J. Baker in Opera Information:

A brand new conductor and solid gave Verdi’s “La Traviata” a hearty welcome when the Met revived its frilly Zeffirelli manufacturing on October 20. Issues revolved, as is simply proper, across the intense and delicate Violetta of Anja Harteros, the German soprano beforehand heard right here as a singer of Mozart.

The soprano’s classical credentials had been confirmed by her musicianly but incisive remedy of Verdi’s strains, particularly the silky, plaintive passages of the later acts – a carefully tinted mezza voce in “Ah! Dite alla giovine,” or her wrenching, eloquent “Addio del passato,” to quote two pinnacles. Harteros spins ravishing sounds and has that particular present of endowing a pianissimo with delicacy and depth without delay.

Different challenges within the rating are extra problematic, for the reason that soprano appears most safe within the center to upper-middle vary (as much as A) and at medium to low quantity. Within the larger reaches of “Sempre libera” and its previous cadenza, the tone misplaced focus, spreading and darkening in a considerably lunging assault. However thanks partially to her dramatic demeanor, this reckless, edgy vocal high quality additionally carried expressive drive. The desperation so palpable within the remaining stretto, “Gran Din morir si giovine,” sustained Verdi’s drama to the top, and the soprano acted and appeared the half convincingly by every of the heroine’s crises.

Since this opera stands on the crossroads between bel canto kind (in Act I) and a extra elastic expressive type, conductors typically emphasize that development, particularly by starkly contrasting the preludes to Acts I and III. In his firm debut, Paolo Carignani didn’t overload these instrumental passages, which remained wistful moderately than searing.

He formed the efficiency nicely, with particularly expressive rubato within the Violetta-Germont encounter and the following mournful clarinet solo. I missed that type of consideration within the large ensemble that closed Act II, the place Violetta’s arching strains can obtain extra pathos. Alfredo’s tough outburst reached full throttle, nonetheless, with an unusually energetic tempo. Almost all the time, one may sense the conductor’s shut interplay together with his singers.

On at the present time in 2014 Metropolitan Opera premiered John AdamsThe Demise of Klinghoffer. (Protests broke out in the course of the efficiency.)


On at the present time in 1954 Mary Martin in Peter Pan flew on Broadway (lyrics and rating by Jule Styne, Betty Comden and Adolph Inexperienced).


Picture: Marty Sohl/Metropolitan Opera



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