Dessay traviata hd review

From Act I her tone was brittle and vinegary. She also seemed very short-breathed, which affected her phrasing badly. At times, the voice sounded hollow and although in character for the role of Violetta, it was obvious that her vocal limitations exhibited here were not a dramatic affectation. She was pretty downcast by the single interval. Dramatically, it was more than convincing, her fragile figure matched by her tiny vocal stature. Matthew Polenzani was a decent Alfredo, reliably sung with a light, lyric tenor, even if slightly woodenly acted. The best singing of the performance easily came from Dmitri Hvorostovsky ; a natural Verdi baritone who stole every scene he was in.

He also struck Alfredo with such apparent force that it drew gasps from the horrified Winchester audience. Fabio Luisi conducted a decent performance, coaxing his orchestra to play softer, nursing Dessay through Act III in particular. It was all terribly efficient, but lacked the drama or sensitive shaping I heard from the Welsh National Opera Orchestra recently under Julia Jones.

Dessay traviata amazon

I do worry that Luisi is burning the candle at both ends at present — conducting a marathon number of performances at the Met in short spaces of time. It broke my heart that I was unable to enjoy his great voice because those huge and audible breaths he took completely ruined it for me.


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Good review — in a difficult situation to describe. All the comments about the principal singers, conductor and orchestra were fair and accurate I thought. Luisi did a terrific work, with a completely unreliable Dessay and a stage almost impossible to manage!!! And I never heard both preludes so well, inspired and heartbreaking like in this performance. Having heard them both in situe at the Met and Covent Garden I can assure you that it is the voice of Polenzani which travels better in reality, surprisingly present in the theatre.

For senior Traviata-ists only, Decor.. Clothes act two.. Chorus… all male dressed! Death scene… Alfredo sits on a rear bench and leaves Violetta to die … on her own. Il Provence by Hvorostovsky… Best I have ever heard! Hubrecht Brody. I relish, cause I found exactly what I used to be having a look for. Minor characters go for little here — Flora is virtually anonymous — so that the weight of the production lies on three pairs of shoulders.

Dessay has many of the dramatic qualities to assume the role of Violetta, but not the voice. Instead, it was heartbreaking, as I found myself willing Dessay to struggle through it without further damage. From Act I her tone was brittle and vinegary. She also seemed very short-breathed, which affected her phrasing badly. At times, the voice sounded hollow and although in character for the role of Violetta, it was obvious that her vocal limitations exhibited here were not a dramatic affectation.

She was pretty downcast by the single interval.

Dramatically, it was more than convincing, her fragile figure matched by her tiny vocal stature. Matthew Polenzani was a decent Alfredo, reliably sung with a light, lyric tenor, even if slightly woodenly acted. The best singing of the performance easily came from Dmitri Hvorostovsky ; a natural Verdi baritone who stole every scene he was in.

He also struck Alfredo with such apparent force that it drew gasps from the horrified Winchester audience. Fabio Luisi conducted a decent performance, coaxing his orchestra to play softer, nursing Dessay through Act III in particular. It was all terribly efficient, but lacked the drama or sensitive shaping I heard from the Welsh National Opera Orchestra recently under Julia Jones. I do worry that Luisi is burning the candle at both ends at present — conducting a marathon number of performances at the Met in short spaces of time.

It broke my heart that I was unable to enjoy his great voice because those huge and audible breaths he took completely ruined it for me. Good review — in a difficult situation to describe.

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Verdi: La Traviata

All the comments about the principal singers, conductor and orchestra were fair and accurate I thought. Luisi did a terrific work, with a completely unreliable Dessay and a stage almost impossible to manage!!! And I never heard both preludes so well, inspired and heartbreaking like in this performance. Having heard them both in situe at the Met and Covent Garden I can assure you that it is the voice of Polenzani which travels better in reality, surprisingly present in the theatre. For senior Traviata-ists only, Decor..

Music Theatre, Opera and Ballet Reviews, News and Views

Clothes act two.. Chorus… all male dressed! Death scene… Alfredo sits on a rear bench and leaves Violetta to die … on her own.

La Traviata = Natalie Dessay + Charles Castronovo // Aix en

One sensed the added value of their lingering over those da capo arias. The audience was transfixed by the intense concentration and expressive commitment they gave to their respective roles. After too many years in the operatic wilderness, I could finally understand what Baroque opera fans have long admired about this art form.

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All the singers, especially Abdeslam as the fleet-footed Nireno and a particularly repugnant pair of plotters in Tolomeo and Achilla, adeptly portrayed by Dumaux and Loconsolo, got their chance to shine. Tolomeo eventually gets his comeuppance at the hands of the vengeful Sesto; Cornelia succeeds in preserving her virtue after several attempts to rape her; while Caesar and Cleopatra proclaim their love for each other as he elevates her to the Egyptian throne, a happy ending for once.

Written almost concurrently with the wildly popular Il Trovatore , both works had their respective premieres barely two months apart, in They were preceded by another middle-period piece, the lively Rigoletto from The real-life protagonist of these pieces, Marie Duplessis, was a member of the hedonistic demi-mondaine of Paris, which Dumas was familiar with. The play accurately if somewhat fictionally renders the events of his affair with Duplessis in dramatic fashion. Long before Traviata was conceived, the composer had engaged in his own well publicized affair with former singer Giuseppina Strepponi, who had earlier appeared in various Verdi works.

Verdi dared to live openly with the ex-star of La Scala, which scandalized the populace to no end. Poor Giuseppina was habitually ostracized wherever she went, but Verdi refused to bend. Verdi went on to legitimize his relationship to Strepponi, who became the second Mrs. Verdi in Incidentally, she maintained a respectful friendship with Stolz even after her husband ended the affair.

This brief background history, then, is basically a lead up to the main event: mainly, that Verdi certainly felt, and experienced a great deal of sympathy for, the forlorn Violetta by the time he got down to actually writing La Traviata. Despite a recent cold, Dessay managed this feat of theatrical legerdemain by carefully husbanding her limited resources, and by molding her lyrical statements to suit the dramatic purposes of the plot. Netrebko an international sensation. Her Violetta, while vocally thrilling and flamboyantly acted, lacked something of the spark of inspiration to truly ignite her performance.

La traviata - Wikipedia

Confessing his love to Violetta, the enamored lad is encouraged in his advances by the obviously flattered lady. Violetta makes the ultimate sacrifice, but Alfredo is not told the real reason for her abandonment. Later, he erupts into a fit of jealous rage at another dinner party, offending and ill-treating Violetta in front of her friends. This leads to a duel, which Alfredo survives, only to be told the truth from his dad.

So is Alfredo, who appears in scenes he would not normally be featured in. These are certainly debatable directorial choices, but the end result is that both characters come across as fully rounded personalities. Sleight of stature but big of talent, Dessay used her petite frame to generate an immense pity for the pathetic little creature.


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