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Luego le llegó el turno a la soprano
Janice Baird, que realizó una magistral interpretación de
Final del acto III y que cerró la primera parte del
concierto con el público absolutamente entregado al milagro
obrado por la música de Wagner, siempre demoledora cuando
suena en el Palacio de Carlos V y tras una larguísima
ovación.
Granada Hoy
Jesús Arias /
Granada |
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Janice
Baird sings Minnie in Fanciulla del West in Roma |
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Assolutamente innovativa nel repertorio pucciniano è
Minnie, eroina dalla personalità poliedrica,
coraggiosa e passionale (indossa quasi sempre
qualcosa di rosso), qui interpretata dal soprano
Janice Baird, di notevoli capacità vocali dai toni
ora morbidi, ora squillanti. |
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Notti da Leone -
Fabiana Raponi - April 9, 2008 |
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Janice Baird, James Levine and Gary Lehman |
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Janice Baird and Ben Heppner |
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(photo
by Ken Howard) |
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(AP Photo/Seth Wenig)
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* Janice BAIRD
makes her debut on New York Metropolitan Opera as
Isolde |
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under the
baton of James Levine March 14 & 25 2008 |
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National Public Radio -
REVIEW and
Radio Interview - MET Debut |
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Ms.
Baird, a native of the Upper
West Side, has sung many
major dramatic soprano roles
in companies around the
world. An attractive woman
with a strong and
bright voice, she was an
honorable Isolde. She had
secure top notes and a
gleaming middle range...
she sang with focus, energy
and stamina, and won an
enthusiastic ovation from
the audience.
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Anthony TommasiniI - New York Times - March
27, 2008 |
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Tristan and Two Isoldes - a wild night at
the Met |
| Baird
is a slender, striking dramatic soprano with
a considerable reputation in Europe; she
will sing Brünnhilde at the Seattle Opera
next year.And there is surely no crazier
place to begin a performance than in the
midst of Act II, during the most tumultuous
love scene in opera. Baird did
exceptional work. From the start, she sang
with an innate sense of the long line. Her
voice had a fundamentally lovely sheen, dark
yet glowing. |
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Alex Ross
- The New Yorker - March 31, 2008 |
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Janice Baird, had made her Met debut in that
earlier performance and won warm applause
for her courage and professionalism. This
time she drew cheers for her singing as
well. Given a chance to warm up and sing an
entire performance, she made a striking
impression indeed. Matching Heppner decibel
for decibel, she threw herself into the
emotions of the role as well - the
humiliation and rage of Act 1, the passion
of Act 2, and the grief after Tristan dies
in Act 3. |
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Mike Silverman - Associated
Press -
March 26, 2008 |
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It
was a distinguished performance by any
standard, including the Met's own. |
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Ms. Baird, a dramatic soprano with notable
credits in Europe, sang with gleaming,
resonant tone and was a very feminine
Isolde. Her voice's... size is more than adequate
and, coupled with Ms. Baird's interpretive
and acting skills, made for a compelling
portrayal. She maintained impressive control,
for example, of the dialogue in which she
persuades Tristan to join her in a suicide
pact. |
| The
New York Sun - George Loomis - March 27,
2008 |
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*Janice Baird has a voice of
considerable power. In the lower register, you can
hear remnants of a former mezzo-soprano, and her
high notes are gleaming and dead-on. She cuts a
glamorous figure, and together they made the most
romantic-looking couple seen onstage here in
"Tristan und Isolde" in many a year. The audience
rewarded them with a standing ovation and seemed in
no rush to head for the aisles despite the late hour
of 12:30 a.m. |
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Mike Silverman - Associated
Press/New York Times - March 15, 2008 |
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*Suddenly,
in mid-passionate outpouring, Voigt ran off the
stage. And did not come back. A surely flabbergasted
Lehman could be heard singing solo as the curtains
closed and the lights in the orchestra went out.
After a brief pause, a subdued Met spokesman (what
happened to Gelb?) informed us that Voigt had
suddenly been taken ill and could not continue.
Subbing for her would be soprano Janice Baird, who'd
sung Isolde in Rome, Buenos Aires, Hamburg and
Toulouse.
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Style and Aplomb - So the
curtain rose again, with the lovers spurred on by an
approving roar from the house. A tenor who'd never
sung Tristan onstage before, now embarked on one of
music's greatest love duets with a soprano he'd most
likely met for the first time a few minutes before.
Baird, looking youthful in Isolde's curly red wig,
showed off a darker hued voice with a faster
vibrato. And they triumphed. Ably supported by that
old pro, conductor
James
Levine,
tenor and soprano got through the rest of the opera
with style and aplomb and no further exchanges
before the curtain fell at 12:35 a.m.
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Zinta Lundborg -
Bloomberg.com:
Muse Arts
- March 15 2008 |
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Ben
Heppner was not the only singer to be replaced.
Deborah Voigt also succumbed part way through her
meeting with Tristan in the second act. It happened
suddenly. The curtains closed; the lights went out;
and an announcement was made.
Janice
Baird,
another seasoned singer, better known in France than
in North America, was to take over Isolde. The house
lights went up and there was a pause during which
some disappointed, even angered, members of the
audience stalked out, and those who stayed rumbled
in mild confusion in the hall. Again, an extremely
attractive, slim, young-looking woman appeared on
the stage opposite Gary Lehman. There was a moment
of silence, which gave the audience time to
appreciate that they were gazing at a Tristan and an
Isolde who looked their parts. Ms. Baird actually
projected an impression of innocence, which was
instantly engaging. Her best
passages showed a voice which was both bright and
rich, and beautifully balanced between these
qualities. She brought a warm-hearted sympathy to the part,
which could not help win a response in kind from the
audience. And she closed with an eloquent and
well-proportioned Liebestod, in which she let her
voice out enough to show how judiciously she had
been conserving it earlier. Janice Baird did
excellent work. I believed everyone in the
enthusiastic audience was looking forward to hearing
and seeing her in a part she had been able to
prepare properly. Her Brünnhilde has
been enthusiastically received in Europe. |
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Michael
Miller -
The Bershire Review
- March 15, 2008 |
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http://www.berkshirereview.net/music/tristanmet08.html |
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| Mit
Deborah Voigt ist die Isolde nach wie vor
ideal besetzt. |
| Nach
20-minütiger Unterbrechung trat Janice Baird
an ihre Stelle. Mit ihrem dunkler
timbrierten Sopran, rund und
farbenreich strömte, hatte sie nach kurzer
Zeit in die Partie hineingefunden und
erbrachte im Liebesduett und Liebestod eine
vergleichsweise ebenbürtige Leistung. Die
Ovationen des Publikums waren voll
gerechtfertigt. |
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Norbert A. Weinberger, Der Neue Merker
4/2008 |
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After a pause of around
ten minutes to allow her cover to get into
costume, the show continued with
Janice Baird
as Isolde, following a
round of warm and enthusiastic applause from
the Met audience. Although Baird initially
had her eyes glued to James Levine in the
pit, it did not
take her long to relax, get into
character and employ her immense
professionalism to give what was ultimately
a more than satisfactory account of what
remained of the role. When she gave her
voice full reign she was truly thrilling,
revealing a soft-grained but
quintessentially dramatic soprano sound with
a wonderfully easy top and no problems
whatsoever riding the Wagnerian orchestral
texture in such a large theatre.
Scenically, she was everything one could
wish for in an Isolde – slim, beautiful and
youthful in aspect.
The crowning glory of her performance was a
Liebestod of
great beauty and drive in which it almost
seemed as if Levine was holding her hand.
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MusicalCriticism.com - John Woods -
March 14, 2008
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Important Debut at the MET: Janice
Baird |
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When
Janice Baird made her
triumphant debut last night as
Isolde, stepping in for the ailing
Deborah Voigt in this year's
troubled revival of
Richard Wagner's work, she
brought with her over a decade of
international operatic singing. Ms.
Baird's roster of major Wagner,
Richard Strauss, and Italian
roles have been the staple of opera
houses from Tokyo to Berlin, Buenos
Aires to Vienna. She is an
accomplished artist, who began her
career as a mezzo and developed into
a dramatic soprano under the
guidance of such notable Wagnerians
of the past as
Birgit Nilsson and
Astrid Varnay, whom she
credits as two of her most important
vocal coaches. |
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But everything changed last night:
she made her official
Metropolitan Opera debut! I
stress official because last week
Ms. Baird was pushed onstage to
continue the role of Isolde when Ms.
Voigt was suddenly stricken with
some kind of stomach malady which
forced her to run from the stage. As
Ms Voigt's stand-in, Ms Baird
finished the performance to great
applause and cheers. |
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Last night she got to do it all from
the start. If you were lucky enough
to be there, save your little paper
insert that appeared inside your
playbill. Since Ms. Voigt's
cancellation came in after the
programs had already been printed,
this is your only record of her
debut. |
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Ms. Baird's Isolde was filled with
energy and passion. Sure of herself
vocally, and surprisingly
comfortable with the production's
staging and blocking, her Isolde was
a fiery creation whose dark soprano
had no problems soaring over the
intricate orchestration. Only in the
few fortissimo moments of the role
did her voice tighten a bit at the
top, allowing a smattering of a
tremolo to creep through. Isolde's
Curse in the first Act was chilling,
and the Liebestod at the end was
powerful and moving at the same
time. |
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It was a great debut which earned
roars of applause and bravos from
the audience, making us all keenly
aware of the kind of talent
available out there which,
unfortunately, does not always seem
to be tapped at the right time by
MET management. Over the years the
MET has had singers step in at the
last moment to save the day.
Leonie Rysanek covered the
role of Lady Macbeth in 1959 when
Maria Callas was removed from
that production, and years later
Plácido Domingo filled in for
Franco Corelli when the great
Italian tenor had to bow out of a
performance of
Adriana Lecouvreur. For both,
Domingo and Rysanek this last minute
coverage was the beginning of their
stardom. |
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I hope that it proves to be the same
for Ms. Baird, and that
Peter Gelb and
James Levine consider her for
the upcoming Ring Cycle. She will be
singing the role of Brünnhilde in
Seattle's upcoming new staging of
the Ring. |
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Wagner Blog
- Vincent Vargas - March 26, 2008 |
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Janice Baird
hizo su triunfal
debut como
Isolda en el
Metropolitan de
Nueva York,
sustituyendo a
Deborah
Voigt, que
cancelaba debido a
problemas de
estómago.
Esta accidentada
producción de
Tristán e Isolda al
menos ha tenido
momentos
satisfactorios,
entre ellos, este
debut de la soprano
Janice Baird, para
aquellos que
tuvieron la suerde
de acudir.
Janice Baird
ha realizado ya
varios roles
wagnerianos, así
como de Richard
Strauss y otros
compositores
italianos en teatros
de ópera
emblemáticos desde
Tokyo y Buenos Aires
a Berlín y Viena. Es
una artista completa,
que empezó su
carrera como mezzo y
luego fue
evolucionando a
soprano dramática,
bajo la tutela de
notables cantantes
wagnerianas como
Birgit
Nilsson y Astrid
Varnay.
La noche del 26 de
marzo de 2008
esperemos que sea un
gran salto en su
carrera. Era su
debut en el
Metropolitan Opera
de Nueva York. Un
tenso estreno lleno
de cancelaciones,
accidentes e
incertidumbres en el
cartel. Janice ya
tuvo que salir a
escena como Isolda
la noche del 24
cuando Deborah
Voigt, en mitad de
la representación
tuvo una
indisposición
estomacal. Acabó la
función recibiendo
grandes ovaciones.
Pero fue el
miércoles 26 cuando
tuvo que enfrentarse
al rol desde el
principio hasta el
final, y lo hizo de
forma triunfal.
Quien tuviera la
suerte de estar allí
debe guardar el
programa con la hoja
adjunta de la
sustitución (no hubo
tiempo de reeditar
los programas
añadiendo la
sustitución) , ya
que es la única
muestra de su debut.
Janice Bird fue una
Isolda llena de
energía y de pasión.
Con seguridad vocal
y sorprendentemente
confortable con la
dirección de escena
y su interpretación.
Su voz fuerte y
dramática no se
oscurece ante la
intrincada
orquestación. Tan
sólo en unos escasos
“fortissimo” de su
papel su voz se
tensó un poco más en
los agudos. El
primer acto fue
grandioso, y el
Liebestod final
poderoso y al mismo
tiempo emocionante.
Fue un gran debut,
colmado de aplausos
y bravos de la
audiencia. Los que
estuvieron allí
parecían augurar de
que en el escenario
se encontraba un
gran talento. Cosa
que, por desgracia,
no siempre tienen la
oportunidad de
encontrarse en el
sitio y momento
adecuados,
especialmente en
grandes teatros como
el MET. En ellos, sí
suele haber un gran
elenco pero muchas
veces en los últimos
momentos de su
esplendor.
Recordemos cuando
Leonie Rysanek
sustituyó el rol de
Lady Macbeth en 1959
a María Callas, y
años después Plácido
Dominto suplantó a
Franco Corelli
cuando el gran tenor
italiano tuvo que
anular la
representación de
Adriana Lecouvreur.
Para ambos, esta
sustitución “último
minuto” fue el
comienzo de una
carrera triunfal. ¿Será
parecido lo que le
ocurra a Janice
Baird? ¿Considerarán
Peter Gelb y James
Lenive llevarla al
Ciclo del Anillo de
la próxima temporada?
Hoy por hoy es
perfectamente
posible. Sólo
debemos esperar y,
desde la
Asociación
Wagneriana de Madrid
le hacemos
llegar nuestros más
sinceros deseos de
éxito y triunfo en
su carrera.
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Asociación Wagneriana de Madrid
- haga click aquí |
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RING News |
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*Janice Baird
will be the BRÜNNHILDE in the Robert Wilson Die
WALKÜRE in ZÜRICH, |
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under the baton of Phillipe Jordan.
Performances will be in November of 2008 |
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*Janice Baird
is the BRÜNNHILDE in the SEATTLE RING 2009 |
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performances will be August 10,
12, 14; August 18, 20, 22 & August 26, 28, 30. 2009 |
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News |
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*Janice Baird
will be the ELEKTRA in SEATTLE November 2008 |
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*Janice Baird
is ELEKTRA at the Deutsche Oper Berlin 2009 |
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Janice Baird sings
ELEKTRA under the baton Kent NAGANO with the Singapore Symphony |
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Janice Baird sings
ELEKTRA under the baton of Maestro Donald Runnicles |
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Janice Baird sings
ELEKTRA at the WIener Staatsoper |
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SALOME |
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Paris - Salle Pleyel |
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[L'annulation de
Stemme] a réservé une belle surprise au public de la
capitale, qui a enfin eu l'opportunité de découvrir, après
Toulouse, Nantes, Marseille et Avignon, l'une des plus
authentiques titulaires actuelles du répertoire
straussien et wagnerien : Janice Baird. La cantatrice
américaine, dans une superbe condition vocale, a conquis son
auditoire à la fois par l'insolence et la souplesse de
l'instrument, mis au service d'un chant expressif et nuancé.
C'est décidément dans Richard Strauss, encore davantage que
dans Wagner, que se situe son répertoire de prédilection. On
pouvait craindre que cette belle personnalité scénique soit
désavantagée par une version de concert. Il n'en a
heureusement rien été : totalement habitée par le rôle dès
son entrée, Baird a incarné Salomé avec une conviction
dramatique qui nous a fait oublier l'absence de mise en
scène. |
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(Die Absage von Stemme bescherte dem Publikum der Hauptstadt
eine schöne Überraschung. Endlich hatte es die Gelegenheit –
nach Toulouse, Nantes, Marseille und Avignon – eine der
gegenwärtig genuinsten Vertreterinnen des Strauss- und
Wagnerfaches kennenzulernen: JANICE BAIRD. Die amerikanische
Sängerin, in bester stimmlicher Verfassung, eroberte ihr
Publikum durch die Kühnheit und Geschmeidigkeit ihres
Instrumentes, das sie in den Dienst ihres ausdrucksvollen
und nuancierten Gesanges stellte. Ganz bestimmt bei Richard
Strauss, sogar noch mehr als bei Wagner, liegt ihr bevorzugtes Repertoire. Es stand zu befürchten, dass diese
schöne Bühnenfigur durch eine konzertante Version zu kurz
käme. Dem war glücklicherweise nicht so: von Beginn an ganz
in der Rolle, verkörperte Baird die Salome mit einer
dramatischen Überzeugungskraft, die uns das Fehlen einer
Inszenierung vergessen machte.) |
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Opéra Magazine -
Monique BARICHELLA - Julliet 2007 |
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Remplaçant Nina Stemme, si attendue,
l’Américaine Janice Baird ne déçoit pas : voix rauque,
prenante dans le grave, doublée d’une présence scénique qui
fait oublier que l’ouvrage est donnée en version de concert. |
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(Die erwartete
Nina Stemme ersetzend, enttäuschte die Amerikanerin JANICE
BAIRD nicht: rauchige Stimme, faszinierende Tiefe, gepaart mit
einer szenischen Präsenz die einen vergessen macht, dass das
Stück in einer konzertanten Aufführung gegeben wurde.) |
| Le Figaro
- Christian Merlin 2 juin, 2007 |
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| C'est la soprano
américaine Janice Baird qui incarne Salomé á Paris: une voix
d'une belle tenue - la cantarice déploya un réel sens
psychologique et ménagea intelligemment jusqu'au sompteaux
final: les méandres dramatiques "d'horreur, de luxure et de
sang". |
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(Die amerikanische Sopranistin Janice Baird gibt Salome in
Paris: mit gut sitzender Stimme und echtem
psychologischen Gespür meistert sie klug bis zum
prächtigen Finale die dramatischen Windungen dieser Oper
„des Entsetzens, der Begierde und des Blutes“.) |
| DNA - Marc Munch -
2. juin 2007 |
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| Une
Salomé musclée à Pleyel - le 30.05.07 |
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On
attendait Nina Stemme, c’est Janice Baird qui a été Salomé à
la
salle Pleyel,
mardi 29 mai. Le public, venu nombreux, a perdu sa vedette,
mais découvert cette sculpturale Américaine, qui a appris à
chanter Strauss et Wagner auprès de Birgit Nilsson et Astrid
Varnay, et qui incarne partout … sauf à Paris (alors qu’à
Toulouse, Nicolas Joël l’affiche régulièrement) Brünnhilde,
Elektra ou la Femme sans ombre. Autour de cette Salomé
musclée aux allures de grande fille découvrant les abîmes de
l’amour et de la mort, un plateau composé de spécialistes... |
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(Eine starke Salome im Pleyel
- 30.05.07) |
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(Man erwartete Nina Stemme, und
Janice Baird war Salome im Saal Pleyel am 29.Mai.
Das Publikum, zahlreich erschienen, verlor seinen
Star, aber entdeckte diese amerikanische
Schönheit, die Strauss und Wagner bei Birgit
Nilsson und Astrid Varnay studierte und überall
auftrat… bis auf Paris (in Toulouse engagierte
Nicolas Joel sie regelmässig) mit Brünnhilde,
Elektra oder die Frau ohne Schatten. Um diese starke
Salome, im Stile eines grossen Mädchens die Abgründe
von Liebe und Tod entdeckend, schart sich ein aus
Könnern
zusammengestelltes Ensemble…
) |
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Le Monde de la Musique -
FL |
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Le début parisien de Janice Baird |
 [Paris]
Comme la princesse Salomé est belle, ce soir ! |
| Janice
Baird, très belle dans sa robe imprimée... une princesse enfantine à son entrée, butée
lors de son dialogue avec Hérode, follement perverse lors de
la scène finale. La voix prend littéralement aux tripes,
d’autant plus que la soprano n’hésite pas à enlaidir son
timbre pour faire passer l’expression. |
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(Das
Pariser Debut von Janice Baird) |
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(Wie schön ist die
Prinzessin Salome, heute abend!) |
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(Janice Baird, wunderschön in ihrem
bedruckten Kleid… eine kindliche Prinzessin zu
Beginn, starrköpfig ab ihrem Dialog mit Herodes,
wild abgedreht in der finalen Szene. Die Stimme
fährt einem buchstäblich ins Mark, um so mehr da
sich die Sopranistin nicht scheut ihr Timbre
einzufärben um den Ausdruck zu servieren.) |
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Resmusica -
Catherine Scholler
(30/05/2007) |
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| Digne fille de sa
mère |
| Enfin pour
saluer la prestation de Janice Baird, tout juste sortie des
représentations marseillaises de La Walkyrie (voir
ici).
La soprano américaine tire habilement parti de ses atouts
(des aigus assurés, une voix ronde, une ligne de chant
impeccable) ... pour camper une princesse de Judée qui n’a
rien d’une capricieuse Lolita, plus mûre, déterminée et
odieuse qu’à l’ordinaire, très précisément celle que dépeint
Hérode non sans effroi: «in Wahrheit ihrer Mutter Kind», «la
digne fille de sa mère». |
|
(In Wahrheit
ihrer Mutter Kind) |
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(Schliesslich begrüssen wir den Gewinn von Janice Baird,
geradewegs von Vorstellungen der Walküre in Marseille
kommend. Die amerikanische Sopranistin zieht virtuos ihre Trümpfe (sichere Höhen, eine volle Stimme, eine tadellose Lienienführung)… um eine judäische Prinzessin zu geben, die
nichts von einer kapriziösen Lolita hat, sondern
erwachsener, bestimmter und hasserfüllter als gewöhnlich
ist; exakt so wie es Herodes nicht ohne Furcht beschreibt:“
in Wahrheit ihrer Mutter Kind“.) |
|
ConcertoNet -
Simon Corley 05/29/2007 |
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Éblouissante Salomé |
| Présence féline, ampleur vocale
incontestable, Janice Baird, plus qu’attendue pour ses
débuts parisiens improvisés, darde quelques-uns de ses aigus
phénoménaux dont elle a le secret au-dessus d’une masse
orchestrale chauffée à blanc. On retrouve les raucités,
l’engagement, les feulements à la Christel Goltz, ces graves
poitrinés avec détermination. |
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|
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(Mit katzenhafter
Attitüde und unantastbarer vokaler Fülle, schleudert Janice
Baird - heiss erwartet für ihr unverhofftes Pariser Debut –
ihre phänomenalen Höhen heraus . Sie weiss um das Geheimnis
über weissglühende Orchestermassen zu dringen. Man begegnet
den Rauheiten, dem Einsatz, dem Schnurren einer Christel
Goltz, diesen resoluten Tiefen.) |
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Altamusica -
Yannick MILLON
- 29/05/2007 |
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c'est
Janice
Baird
qui chante le rôle-titre. libérant bientôt la plénitude
qu'on lui connaît, toujours avec intelligence et musicalité,
incarnant une sensualité diablement excitante, plus épicée
que suave. La présence crève l'écran, la concentration
pointe le sens de chaque phrase comme rarement, ravissant
l'écoute par son irrésistible expressivité. |
|
(Janice Baird singt die Titelrolle und entfesselt bald die
von ihr gewohnte Vollkommenheit. Stets mit Intelligenz und
Musikalität verkörpert sie eine diabolisch aufregende
Sinnlichkeit, eher kraftvoll gewürzt denn mild. Ihre Präsenz
sprengt den Bildschirm, die Konzentration schärft den Sinn
jeder Phrase wie selten, das Gehör mit ihrer
unwiderstehlichen Ausdruckskraft bezaubernd.) |
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Anaclase
- Bertrand Bolognesi |
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WOZZECK - Marie |
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Teatro dell'Opera di Roma - October 2007 |
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| va meglio nei momenti più
lirici, legati principalmente al personaggio di Marie, anche
perché Janice Baird è un'interprete magnetica |
|
Giornale della Musica - Mauro Mariani |
|
| Il palcoscenico è
dominata da Janice Baird, Marie sanguigna e vocalmente imperiosa:
con la sua sfontatezza popolana giustifica i pruriti del
Tamburmaggiore anche se non le manca la docezza per il figlio. |
| Il Messaggero - Alfredo
Gasponi - October 20, 2007 |
|
| However, the Marie of the
American soprano, Janice Baird, was truly exceptional. Her voice
is strong, even and highly dramatic, perfect for this role, her
acting of the highest standard and her physical presence most
alluring. |
|
Wanted in Rome - John Fort - October
20, 2007 |
|
| Nel cast si è segnalata
solo la strepitosa Marie di Janice Baird, con voce adeguata sia
nei momenti drammatici che nei momenti lirici. |
|
Teatro.org - Francesco RAPACCIONI - October 21, 2007 |
|
| Il tutto con una
compagnia... in cui spicca la Marie commovente Marie
di Janice Baird, |
| Il Manifesto - Arrigo
Quattrocchi - October 21, 2007 |
| |
|
"Tristan und Isolde" |
|
Staatoper Hamburg -
Juni 2007 |
|
|
In
der mezza
voce klingt die Stimme von Frau Baird lyrisch in satten
dunklen Farben, klar und transparent erblühen die Höhen,
voll Kraft und Glut gerät der Racheausbruch, entrückt nicht
von dieser Welt "O sink hernieder" und schon traumverloren
und "mild und leise" wird zum einzig melancholisch
verhauchten Kosmos mit langem Atem. Wann darf man einen so
gesangstechnisch perfekten Sopran in voller Blüte erleben?
Großartig und bewegend die ausgefeilte Darstellung und die
vortreffliche Artikulation gepaart mit einer hinreißenden
optischen Erscheinung. - Das war eine Sternstunde der Oper |
| Der neue Merker - Gerd
Hoffmann - Juli 2007 |
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