Recensioni del profilo
6In the role of Leonora, Marigona Qerkezi sang a striking Leonora, and announcing herself as a soprano to look out for. Qerkezi has a plush soprano with a roundness from the top to the lower parts of the voice. The moment she entered the stage you knew this was a commanding presence and she didn’t disappoint. Her opening “Tacea la Notte Placida” showcased Qerkezi’s gorgeous legato line that flowed from one note into the next. The only moments where she cut the line was is in the phrases “Infino allor sì muto” and “Egli era! egli era desso!…” where instead of doing the traditional portamenti, she opted for the original markings of the score; in a way that space gave it a haunting feel. Qerkezi also opted for the original cadenza that goes up to the high C; while she did not sustain it, it showed the soprano’s flexibility in reaching the highest notes in her voice. That flexibility was furthered in the cabaletta “Di tale amor” as the sound brightened and florid lines were articulated with such ease and precision that one could really feel Leonora’s joy. That easily changed in the second half of the opera in Leonora’s big triple aria and ensuing duet. The “D’amor sull’ali rosee” was a true lament as she spun the notes with extended legato lines. The sound had a somber timbre that expressed the pain of her Leonora and one felt as if Qerkezi didn’t want the aria to end. It was entrancing to see her expressive face move with the music. Then in the “Miserere d’un alma gia vicina” the voice turned even darker and lower tones, while not always resonant, obtained a natural weight that showed Leonora in desperation mode. As she repeated the “Di te, di te scordarmi!!…” the soprano’s voice garnered more volume and she sang with greater force. That ended in a beautiful crescendo that continued into “Tu vedrai che amore in terra” without a pause. Here Qerkezi regained strength and determination in the voice. The coloratura was sung to perfection and as she repeated it the voice continued to gain strength, never running out of air. On the second repeat, Qerkezi gave a ritardando to the lines “O con te per sempre unita” almost as if her character had second thoughts. But she eventually went back to the rapid tempo ending that portrayed a Leonora with determination.
The soprano Marigona Qerkezi, who sang Elvira, was an excellent example of the natural development of the voice. Having sung Lucia di Lammermoor, Gilda, and Queen of the Night at the beginning of her career, all demanding a lirico leggero voice, Qerkezi has a spinto voice that keeps high notes secure and fast coloratura clean. This, she proved in her entrance aria: “Ernani…Ernani involami” with excellent high Cs. But her central register is big, dark, and strong because that’s where the role tessitura mainly lies. Verdi’s early operas are demanding for sopranos as they require coloratura and high notes but also a big voice at the same time. Qerkezi was just perfect for the role. Her first cabaletta: “Tutto sprezzo che d’Ernani,” showcased fast scales, trills, and big projections from low D to high C. She sang effortlessly the quick coloratura that the maestro demanded with an absurdly fast tempo. Her voice was resonant and present in the trios and concertantes, and her high B flats and high Cs (a constant in this score) were ringing and strong. In the final scene, in contrast to previous, robust, and powerful singing, she sang with a beautiful soaring “dolcissimo” (as marked in the score) the line: “riso del tuo volto…”
Recensioni di produzioni precedenti
2In the role of Leonora, Marigona Qerkezi sang a striking Leonora, and announcing herself as a soprano to look out for. Qerkezi has a plush soprano with a roundness from the top to the lower parts of the voice. The moment she entered the stage you knew this was a commanding presence and she didn’t disappoint. Her opening “Tacea la Notte Placida” showcased Qerkezi’s gorgeous legato line that flowed from one note into the next. The only moments where she cut the line was is in the phrases “Infino allor sì muto” and “Egli era! egli era desso!…” where instead of doing the traditional portamenti, she opted for the original markings of the score; in a way that space gave it a haunting feel. Qerkezi also opted for the original cadenza that goes up to the high C; while she did not sustain it, it showed the soprano’s flexibility in reaching the highest notes in her voice. That flexibility was furthered in the cabaletta “Di tale amor” as the sound brightened and florid lines were articulated with such ease and precision that one could really feel Leonora’s joy. That easily changed in the second half of the opera in Leonora’s big triple aria and ensuing duet. The “D’amor sull’ali rosee” was a true lament as she spun the notes with extended legato lines. The sound had a somber timbre that expressed the pain of her Leonora and one felt as if Qerkezi didn’t want the aria to end. It was entrancing to see her expressive face move with the music. Then in the “Miserere d’un alma gia vicina” the voice turned even darker and lower tones, while not always resonant, obtained a natural weight that showed Leonora in desperation mode. As she repeated the “Di te, di te scordarmi!!…” the soprano’s voice garnered more volume and she sang with greater force. That ended in a beautiful crescendo that continued into “Tu vedrai che amore in terra” without a pause. Here Qerkezi regained strength and determination in the voice. The coloratura was sung to perfection and as she repeated it the voice continued to gain strength, never running out of air. On the second repeat, Qerkezi gave a ritardando to the lines “O con te per sempre unita” almost as if her character had second thoughts. But she eventually went back to the rapid tempo ending that portrayed a Leonora with determination.
The soprano Marigona Qerkezi, who sang Elvira, was an excellent example of the natural development of the voice. Having sung Lucia di Lammermoor, Gilda, and Queen of the Night at the beginning of her career, all demanding a lirico leggero voice, Qerkezi has a spinto voice that keeps high notes secure and fast coloratura clean. This, she proved in her entrance aria: “Ernani…Ernani involami” with excellent high Cs. But her central register is big, dark, and strong because that’s where the role tessitura mainly lies. Verdi’s early operas are demanding for sopranos as they require coloratura and high notes but also a big voice at the same time. Qerkezi was just perfect for the role. Her first cabaletta: “Tutto sprezzo che d’Ernani,” showcased fast scales, trills, and big projections from low D to high C. She sang effortlessly the quick coloratura that the maestro demanded with an absurdly fast tempo. Her voice was resonant and present in the trios and concertantes, and her high B flats and high Cs (a constant in this score) were ringing and strong. In the final scene, in contrast to previous, robust, and powerful singing, she sang with a beautiful soaring “dolcissimo” (as marked in the score) the line: “riso del tuo volto…”
