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Biografie  Csilla  Boross first  graduated as  a  piano  teacher only  after  she  recieved her Master of  Art   degree as  a  soloist  singer  from  the  Liszt Ferenc  Academy of Music.   Her  tutors   were   Judit   Németh,  Boldizsár Keönch, Ilona  Tokody  and Gabriella  Imre. From  September 2003  onwards she  has  been a permanent gue...weiterlesen

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Lombardo Associates

Biografie  Csilla  Boross first  graduated as  a  piano  teacher only  after  she  recieved her Master of  Art   degree as  a  soloist  singer  from  the  Liszt Ferenc  Academy of Music.   Her  tutors   were   Judit   Németh,  Boldizsár Keönch, Ilona  Tokody  and Gabriella  Imre. From  September 2003  onwards she  has  been a permanent gue...weiterlesen

Repräsentationsdetails:

Lombardo Associates
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Saturday afternoon is often a time to watch a Cecil B DeMille style biblical epic and this is precisely what Andrea Cigni’s new staging of Nabucco at the Teatro Regio is. Cigni gives us something that is very much of the past, with long flowing biblical chic costumes (Tommaso Lagattolla) and a big craggy set, consisting of a stone wall imbued with Hebrew inscriptions for the temple. The Assyrians were dressed in gold, looking like extras who had just walked in from the original series of Star Trek. Riccardo Zanellato gave us a ‘tu sul labbro de’ veggenti’ of introspective dignity, singing with warmth and an inky beauty of tone. Elsewhere, there was a tendency to push somewhat, with vibrations loosening slightly and the top losing colour. That said, Zanellato gave us a dedicated account of his role. Ştefan Pop was Ismaele, singing with Italianate ping, although his legato was rather aspirated. His Fenena was Enkelejda Shkosa, who sang with a fruity mezzo with generous vibrations and an admirable sense of line – although the registers do seem to be parting company. Sarah Baratta sang an Anna with pearly tone and Romano Dal Zovo a Gran Sacerdote in a resonant and liquid bass that suggested he might be a notable Zaccaria in the future. Donato Renzetti’s conducting was interesting. At first, it felt on the relaxed side, the faster tempi feeling earthbound, although he phrased the music with love and affection. Perhaps he had an espresso at intermission because from then on, the performance seemed to take wing – rhythms were well pointed and Renzetti made this work sound like the heir to bel canto that it is, through the beauty of the orchestral phrasing. The Regio orchestra was on excellent form – string intonation was true, brass on best behaviour, and characterful winds. This was one of those shows that managed to transform a rather static staging into something very special. It was a privilege to be able to see a master at work in Nucci’s singing, as well as that of the house chorus who sang with a depth of feeling that was immensely moving. This afternoon’s performance was rapturously received by the audience.
Opera Traveller
“Nabucco” is not one of Verdi’s best operas, but it’s short, tuneful and entertaining. Typical of the composer’s early period, the music has a rough energy that is immediately appealing, though the characters are not as subtly developed and sympathetic as they would be in his mature works. There also is the first of the father-daughter relationships between baritone and soprano that Verdi would exploit throughout his career. The orchestral element was well handled by conductor Antony Walker. The rum-tum theme in the Overture bristled with vitality, and the foretaste of “Va, pensiero” made a mellifluous beginning. Against an attractive stone-block set – designed by stage director Bernard Uzan with Michael Baumgarten – Mr. Uzan created an imaginative array of projections that ranged from biblical references to a history of Jewish persecution through the ages. He didn’t handle people as effectively. The principals stood singing with outstretched hands substituting for expression, or kneeled or rolled on the floor to show despair. As for the chorus – which sang very well as prepared by Mark Trawka – it was a matter of standing or kneeling immobile most of the time, which is probably just as well. Mark Delavan took some time to warm up as Nabucco, but once settled, used his thunderous baritone skillfully to define this intermittently sympathetic character. As the Jewish high priest Zaccaria, Oren Gradus turned his smoother, deeper bass-baritone into an excellent musical and dramatic foil for the title figure. The leading tenor in this opera, Ismaele, doesn’t have much to sing, but Raymond Very sang his all-too-sparse lines quite beautifully. His love interest – the Babylonian Fenena, who converts to Judaism for him – was returning resident artist Laurel Semerdjian, who used her light mezzo-soprano appealingly in her last act solo. Among the supporting roles, new resident Matthew Scollin’s penetrating bass voice and strong stage demeanor made the High Priest of Baal a commanding presence whenever he appeared.
ROBERT CROAN

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