Yolanda Auyanet / Reseñas

“Fridman a thrillingly good fit for Lucrezia, handling the demands of the role with impressive ease” A last minute step-in for Yolanda Auyanet, Lidia Fridman in the title role proved a star in the making. With a dark, attractive timbre and remarkable clarity through her entire range, Fridman was a thrillingly good fit for Lucrezia, handling the demands of the role with impressive ease…

El director de escena Lorenzo Amato hace estallar ese collage de referencias con espectaculares proyecciones (audiovisuales de Sergio Metalli), un realismo descarnado y la monumental escenografía de Ezio Frigerio, con vestuario de Franca Squarciapino.

...erwärmte sich ihre Stimme sofort und war danach die vollen vier Stunden mit abweisenden oder warmen Tönen stets wunderbar präsent, steigerte sich zu einer famosen „Toi qui sus le Néant des grandeurs de ce monde“ – Arie, die den stärksten Applaus des Abends erhielt.

One of the titles of the great bel canto repertoire returns to Palermo after many years of absence with an international cast of great prestige: for the new season of the operas of the Teatro Massimo in Palermo, Gaetano Donizetti's "Roberto Devereux" is staged , the great opera that sees protagonist Queen Elizabeth I of England. The opera, which was performed in Palermo only in 1994 at the Politeama Garibaldi under the direction of Gianandrea Gavazzeni, is staged from 29 April to 7 May in the staging of the Welsh National Opera under the direction of Alessandro Talevi and the sets and costumes. by Madeleine Boyd. On the podium Roberto Abbado, who returns to direct the Orchestra and Chorus of the Teatro Massimo in Palermo after the Mahlerian concert last March. The absolute protagonist in the role of the English queen - a role in which singers such as Montserrat Caballé, Leyla Gencer, Beverly Sills, Edita Gruberová, Raina Kabaivanska and Mariella Devia have ventured - is the soprano Maria Agresta , who will sing the part for the first time in Paris just before the performances in Palermo, always under the direction of Roberto Abbado. Her rival Sara is played by mezzo-soprano Vasilisa Berzhanskaia, a rising star of the international scene, while in the performances of April 30 and May 6 the role of Elisabetta passes the baton to Davinia Rodriguez and that of Sara to Chiara Amarù from Palermo. "Roberto Devereux" is a lyric tragedy in three acts composed on a libretto by Salvadore Cammarano, based on the tragedy by Jacques-François Ancelot "Elisabeth d'Angleterre" and together with "Anna Bolena" and "Maria Stuarda" is part of the so-called "Ciclo of the Tudor Queens "by Donizetti. The staged story is inspired by the relationships (real, but also fictional) between the Earl of Essex, Robert Devereux, and Queen Elizabeth I of England. Or better,his love for the Count is no longer reciprocated . Devereux, in fact, has fallen madly in love with the beautiful Sara, wife of his best friend the Duke of Nottingham, who reciprocates by unleashing the ire of Elizabeth who, having learned of an alleged betrayal of the crown by the Earl of Essex, in a vortex of conflicting emotions and feelings finally decides to sentence him to death.

Jossi Wieler and Sergio Morabitoemphasize the consistent restoration of women's rule in their spacious production of Bellini's "Norma". In the priestess Norma, who serves her gods and yet does not want to live chastely, Bellini depicts in glowing colors the disturbing double life of a woman who is extremely capable of love. However, she has also re-appropriated her dominion herself and has moved into the temple with her children. As a spiritual authority, Norma gives direction to her oppressed people. At the same time, there is a secret love agreement with Pollione, which he breaks when he falls hopelessly in love with Adalgisa. In her anguish, she entrusts her love to the High Priestess. In wild revenge, Norma first wants to kill her and Pollione's children, which the production captures in garish images. in trying Forcibly kidnapping Adalgisa from the temple, Pollione is seized. Norma orders a woodpile to be built for a priestess who has betrayed her country and her gods. But she does not mention Adalgisa's name, but her own. Then she is led to execution. All of this is only hinted at in the production (stage and costumes:Anna Viebrock ; scenic direction of the revival: Anika Rutkofsky ). There are always references to the modern world - from the telephone to the pull-out bed. Even if mystical and metaphysical moments are largely missing in this interpretation, the directing of the characters is all the more credible. One understands, above all, in the convincing performance of the excellent Spanish soprano Yolanda Auyanet,that Norma has the special dignity of a goddess, while she is only criminalized in Alexandre Soumet's play. At the same time, Jossi Wieler and Sergio Morabito make it clear that Norma is not Medea. Her vengeance is not so merciless, she is ready for a limitless self-sacrifice that leaves the people first shaken and then all the more angry. The strength and power of the mass rebellion stands out in this production in an extremely rousing and breathless way. Under the fiery direction of the young Italian conductor Giacomo Sagripanti, the Stuttgart State Orchestra performs with esprit and grandeur. Bellini's tonal language speaks with a thousand tongues, bringing boundless human passions to life. The brass players also appear at the side entrances and give the production a strange military character. One senses how strongly this work must have influenced Giuseppe Verdi, for example. Yolanda Auyanet lets the ecstatic surge of prayer in “Casta Diva” blossom in passionate cantilenas – and invoked in the cabaletta her marriage bond with Pollione in a most moving way. Yolanda Auyanet traces the contrast between prayer and cabaletta with an even timbre and top tones that rise to the limit. However, the magic of bel canto is also revealed in the touching embodiment of Adalgisa by the extremely emotional acting and excellent singing Diana Haller. Diminished intervals and chromatic passages of the score are then implemented in a gripping manner in the highest moments of despair. The outstanding Staatsopernchor Stuttgart ( studyer: Bernhard Moncado ) plays a central role in this , always dominating the stage in an almost all-encompassing manner. The radiant tenorAs Pollione, Massimo Giordano evokes his mental turmoil more and more believably, only to finally emphasize the larger-than-life presence of this character Giacomo Sagripanti has a special feeling for Bellini's overheated tonal language, which considerably strengthens and accelerates the singing culture and virtuosity of the singers. Liang Li portrays Oroveso as the head of the druids with a sonorous bass, while Regina Friedek as Norma's confidant Clotilde and Daniel Kluge as Pollione's friend Flavio provide interesting role portraits. Katarina Tomic and Konstantin Vogel can also be seen as Norma and Pollione's children . Cheers, frenetic applause.