Available online until Friday, 31 July 2020 17:00 PST Full Production Video
Composer & Work
The Rape of Lucretia
Hänsel und Gretel
Full name: Camila Ribero-Souza
Citizenship: Brasilien, Germany
Cavaradossi can grasp for air only when Tosca is gone. Because this woman knows exactly how to make the line disappear between the pure decency in front of the Madonna and a hot embrace. But the interpretation of brazilian Camila Ribero-Souza has much more to offer than a temperamental sweeping of the stage at the Deutsches Nationaltheater. Inbetween many other moments, the following moments are carved by her with perfectly focused soprano: the general pause before the famous solo "Vissi d´arte" is no pausing before a hit-song, but a second full of tension until the aroused rupture. Also the following phrases and melodic arches are interrupted by caesures. Ribero-Souza´s soprano glows and blossoms over and onwards, consciously and in best vocal form.
Dignity, devotion, style: ovations for Tosca
The brazilian soprano Camila Ribero-Souza is very much Diva as Tosca, and what a Diva! It is clear, as soon as enters, that the stage belongs to her, but not because she vainly struts around and makes affected gestures, but because she incorporates in this role a singer overwhelmed by political manipulations. Ribero-Souza shows her vulnerability, her weakenesses, her desperation. Before stabbing the evil Scarpia, who wants to rape her, she solemnly removes her necklace with the cross pendant and after the murder grabs the white roses, flowers of the dead, spreading them around the body, because Tosca, the pious murderess, has certainly also killed herself in this moment. For her there is no more life after such a deed. Her demeanor has dignity, devotion, style, a mixture that is possibly found more frequently in South America than in Europe. The ovations of the audience were in any case certainly for Camila Ribero-Souza.
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