Revisões de perfil
2"The role of the “other” princess, Elisena, was sung by soprano Cara Gabrielson with such splendor that she stole the show every time she appeared. This villainess flirted, schemed, manipulated her way to the altar, eventually stole the limelight from Ifigenia as Grecian sacrifice; with her facial expressions and mannerisms, not to mention bold expressive voice, Gabrielson brought the character to life."
“But the star of the evening was the young San Francisco soprano Cara Gabrielson ... gave a performance of remarkable grandeur and precision, singing with vibrant color and a beautifully modulated range of expressive techniques; her every contribution to the proceedings was reason to sit up and take notice.”
Revisões de produção anteriores
8"The role of the “other” princess, Elisena, was sung by soprano Cara Gabrielson with such splendor that she stole the show every time she appeared. This villainess flirted, schemed, manipulated her way to the altar, eventually stole the limelight from Ifigenia as Grecian sacrifice; with her facial expressions and mannerisms, not to mention bold expressive voice, Gabrielson brought the character to life."
“But the star of the evening was the young San Francisco soprano Cara Gabrielson ... gave a performance of remarkable grandeur and precision, singing with vibrant color and a beautifully modulated range of expressive techniques; her every contribution to the proceedings was reason to sit up and take notice.”
Ars Minerva’s sophomore outing on May 21–22, Carlo Pallavicino’s The Amazons in the Fortunate Isles, promises an equally satisfying excavation of a Venetian tragicomedy. Bursting with catastrophe, innuendo, blatant lies, sex, humor and, first and foremost, excellent music, Amazons has not been seen since its premiere in 1679.
A Conversation with Ars Minerva’s Céline Ricci
