Reviżjonijiet tal-profil
3(...) So a short-notice search for a "substitute-Irene" was started, what poses an extremely difficult endeavour, given that the piece is rarely performed and has many shortened variations. Camila Ribero-Souza arrived at the theatre two hours before the beginning of the performance. She had sung the role of Irene once eight years ago and that also in a completely different shortened version as the one done by the Deutsche Oper Berlin. Awkwardly and unfortunately placed at the side of the stage, the brave brazilian singer with blatant sight-singing abilities is equiped with a radiant young dramatic soprano voice. She has already sung both Venus and Elisabeth in one evening in Tannhäuser. In the love duet with Adriano in the first Act and in the big duet with Rienzi in the fifth Act she sets new standards, in which for this role such difficult splits must be done between becantest effortless ornaments and dramatic penetrating power. The same is true for the Ensembles, where a high C sharp once is due.
Dignity, devotion, style: ovations for Tosca The brazilian soprano Camila Ribero-Souza is very much Diva as Tosca, and what a Diva! It is clear, as soon as enters, that the stage belongs to her, but not because she vainly struts around and makes affected gestures, but because she incorporates in this role a singer overwhelmed by political manipulations. Ribero-Souza shows her vulnerability, her weakenesses, her desperation. Before stabbing the evil Scarpia, who wants to rape her, she solemnly removes her necklace with the cross pendant and after the murder grabs the white roses, flowers of the dead, spreading them around the body, because Tosca, the pious murderess, has certainly also killed herself in this moment. For her there is no more life after such a deed. Her demeanor has dignity, devotion, style, a mixture that is possibly found more frequently in South America than in Europe. The ovations of the audience were in any case certainly for Camila Ribero-Souza.
Reviżjonijiet tal-Produzzjoni Passata
4…und hätte ohne die formidablen Sänger nicht geblitzt, allen voran die hinrießende Zerbinetta von Liudmila Lokaichuk mit lupenreinen Koloraturen, Witz und Sex-Appeal.
(...) So a short-notice search for a "substitute-Irene" was started, what poses an extremely difficult endeavour, given that the piece is rarely performed and has many shortened variations. Camila Ribero-Souza arrived at the theatre two hours before the beginning of the performance. She had sung the role of Irene once eight years ago and that also in a completely different shortened version as the one done by the Deutsche Oper Berlin. Awkwardly and unfortunately placed at the side of the stage, the brave brazilian singer with blatant sight-singing abilities is equiped with a radiant young dramatic soprano voice. She has already sung both Venus and Elisabeth in one evening in Tannhäuser. In the love duet with Adriano in the first Act and in the big duet with Rienzi in the fifth Act she sets new standards, in which for this role such difficult splits must be done between becantest effortless ornaments and dramatic penetrating power. The same is true for the Ensembles, where a high C sharp once is due.
Dignity, devotion, style: ovations for Tosca The brazilian soprano Camila Ribero-Souza is very much Diva as Tosca, and what a Diva! It is clear, as soon as enters, that the stage belongs to her, but not because she vainly struts around and makes affected gestures, but because she incorporates in this role a singer overwhelmed by political manipulations. Ribero-Souza shows her vulnerability, her weakenesses, her desperation. Before stabbing the evil Scarpia, who wants to rape her, she solemnly removes her necklace with the cross pendant and after the murder grabs the white roses, flowers of the dead, spreading them around the body, because Tosca, the pious murderess, has certainly also killed herself in this moment. For her there is no more life after such a deed. Her demeanor has dignity, devotion, style, a mixture that is possibly found more frequently in South America than in Europe. The ovations of the audience were in any case certainly for Camila Ribero-Souza.
Cavaradossi can grasp for air only when Tosca is gone. Because this woman knows exactly how to make the line disappear between the pure decency in front of the Madonna and a hot embrace. But the interpretation of brazilian Camila Ribero-Souza has much more to offer than a temperamental sweeping of the stage at the Deutsches Nationaltheater. Inbetween many other moments, the following moments are carved by her with perfectly focused soprano: the general pause before the famous solo "Vissi d´arte" is no pausing before a hit-song, but a second full of tension until the aroused rupture. Also the following phrases and melodic arches are interrupted by caesures. Ribero-Souza´s soprano glows and blossoms over and onwards, consciously and in best vocal form.
