Katarina Bradić / Léirmheasanna

Penelope is at the very center of the staging. (...) Here Katarina Bradić experiences human fragility in the prologue. Here she is violently harassed by the three suitors, who are embodied by the gods disguised as human beings. But this Penelope remains strong and resilient thanks to Bradić's dark, stable mezzo-soprano, but also shows her soft side towards her son Telemachos (present: Jamez McCorkle)

Already in her performance aria ‹Di misera regina›, the singer falls for not only the suitors on stage, but also the audience: Her voice flows as if by itself, fine shades tell of longing, the music falls silent to the word ‹morte› in an oppressive way , to the brightly and openly sung ‹ritorno›, new hope sprouts. Bradić's haunting diction and her darkly grounded mezzo-soprano can hardly be avoided.