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Biography  Elīna Garanča was born into a musical family in Riga, Latvia. She studied at the Latvian Academy of Music with her mother. She won the Mirjam Helin Singing Competition in 1999 and was a finalist in the 2001 BBC Cardiff Singer of the World Competition. She began her professional career as a resident artist with the Südthüringi...read more

Representation details:

Askonas Holt

Biography  Elīna Garanča was born into a musical family in Riga, Latvia. She studied at the Latvian Academy of Music with her mother. She won the Mirjam Helin Singing Competition in 1999 and was a finalist in the 2001 BBC Cardiff Singer of the World Competition. She began her professional career as a resident artist with the Südthüringi...read more

Representation details:

Askonas Holt
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  • Repertoire (22)
Composer & WorkRoleProductions
Bellini
I Capuleti e i MontecchiRomeo6
NormaAdalgisa3
Berlioz
La Damnation de FaustMarguerite4
Les TroyensDidon1

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Reviews

Attending concert performance of Werther I was sad to miss Elīna Garanča as Charlotte, and very hopeful to hear different interpretation of Werther by Piotr Beczala, who is undoubtedly one of the finest tenors especially in lyrical repertoire. As news on Charlottes replacement by Angela Gheorghiu came in, I was even more intrigued to see what this combination of cast will deliver, especially on opening night. Elena Tsallagova was excellent, she created so tender and bright Sophie, her vocal capabilities ideal match to the role. Also other cast members good, need to praise Daniel Schmutzhard as Albert, his vocal part is not extensive, but was delivered with thoughtful acting, varying from joy and romance to dramatic discovery of lost love. Beczala as expected was excellent as Werther, his vocal capabilities are perfect fit to the role. After seeing Marcelo Alvarez and Jonas Kaufmann interpreting Werther, level of expectations was set very high, and even if I was missing some more lightness and lyricism on Werther part in the beginning (spring theme), dramatic fulfillment of the fate was excellent, regardless of issues with conductor attempts to frighten off the audience. Piotr received thunderous applause and standing ovations during curtain call, fully justified for his outstanding performance.
Antrazalite
This last act has the most beautiful, most sensitive, and also deeply dramatic music: with austere, sublime monastic chants, Fernand's tender romance of the pure angel, "Ange si pur", and a broad final duet. Before that you have to fight your way through some lengths (including ballet music). Everyone listened to the protagonists But everyone's eyes and ears were on the protagonist couple anyway. Elina Garanca knows how to charge her wonderful mezzo with a ruby-red timbre, so to speak, and let it flow uninterruptedly, sonorous in line and expression, passionate and dramatic without excess pressure. It was a "round" performance in every respect. The rest of the cast was dignified, with Eva Liebau as Ines high-ranking on the remaining female side, in the lower registers of the male roles with Ludovic Tézier's distinctive but brawny baritone as the king and the occasionally rough bass declamation of Carlo Colombara as Prior Balthazar . A promise: the agile, bright tenor by David Portillo as Don Gaspar. Brilliance sounds different. One could argue with the very clumsy conductor Roberto Abbado. He lengthened Donizetti's not uninteresting score, which was adapted to Parisian taste and yet remained idiosyncratic "Italian", instead of giving it a more urgent and flexible trait, which led to some attention deficits in the orchestral language. sparkling brilliance, which the work would require, especially on the concert stage, sounds different. The stars guaranteed that the three and a half hours didn't get boring.
KARL HARB

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