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Biografia  Ekaterina Semenchuk Mezzo Soprano Ekaterina Semenchuk is one of the most sought-after Mezzo Soprano voices in the world, known for her exceptional range and unparalleled technique. She studied at the Rimsky-Korsakov Conservatory in St Petersburg and made her stage debut at the Mariinsky Theatre while still a student. Ekaterina...read more

Detalls de la representació:

Ariosi Management Sagl

Biografia  Ekaterina Semenchuk Mezzo Soprano Ekaterina Semenchuk is one of the most sought-after Mezzo Soprano voices in the world, known for her exceptional range and unparalleled technique. She studied at the Rimsky-Korsakov Conservatory in St Petersburg and made her stage debut at the Mariinsky Theatre while still a student. Ekaterina...read more

Detalls de la representació:

Ariosi Management Sagl
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  • Repertori (18)
Compositor i TreballRolTotes produccions
Berlioz
Benvenuto CelliniAscanio1
Les TroyensDidon6
Bizet
CarmenCarmen11
Cilea
Adriana LecouvreurLa principessa di Bouillon4

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ressenyar

‘All the smaller roles were well taken and characterful, particularly the resonant bass of Derek Welton as Creon and the messenger.’
Chris Garlick
Semenchuk's singing technique is well constructed and seamlessly resolves a full homogeneity throughout the entire range from low (dense, emitted without forcing, highly projected and audible) to high (solvent, timbred and pearly). It also shows a very appreciable command of the control of the fiato (and, therefore, of the legato ), and an elegant phrasing. His palette of dynamics allows him to tackle a complete range of expressiveness that is complemented by his acting skills - in some cases, somewhat overactive in the movement of his arms - and his good stage presence. Ekaterina Semenchuk and Semjon Skigin were acclaimed - and even cheered - by the public that completely filled the Teatro de la Zarzuela, having to go out to say hello repeatedly, for which both gave the respectable several tips, the first of which was the popular Gopak , by Mussorgsky, based on a song of interminable, very martial parlati, where a decisive dramatization is printed. Next, the sempiterna habanera, by Bizet's Carmen , performed in both rounds on dynamic piano, which turned out to be somewhat flat. And for the end, also by Bizet, his famous song Ouvre ton coeur , which managed - in part - to quell the public's desire to receive a few more tips.
Oscar del Saz

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