Grace Durham / Recenzje

Liparit Avetisyan was heroic in his limping on the side of the stage, but the obvious pain he was in didn’t hinder his performance. His tenor was youthful and enthusiastic, with bold high notes, a bit on the boisterous side, which doesn’t hurt, in this role. In the other “minor” roles, I want to mention Nadezhda Karyazina as Maddalena, whose deep, strong mezzo really made an impression, and provided a proper foundation for the wonderful Act 4 quartet “Bella figlia dell’amore”.