Profiilin arvostelut
6“Finally, we come to one of the highlights of the evening – the Queen of the Night, by the Czech coloratura soprano Lucie Kaňková. The aria O zittre nicht, mein lieber Sohn was performed, and although it remains in the shadow of the second, more popular Der Hölle Rache kocht in meinem Herzen, certainly the first appearance of the Queen of the Night brought, in next to the high notes also a beautiful, heartfelt lyrical part performed by Kaňková: in a slow tempo, she was able to bind the notes with precision, with clear intonation, with elaborate dynamics. But what was obvious at first sight – this was exemplary Mozartian singing. Balanced, without bel canto tone, phrasing or expression, without that extraordinarily voluminous tone that is simply not to be found in Mozart. The soprano showed vocal flexiblity, a sense of lyric but also dramatic expression, and confidence in her high tessitura. The second aria Der Hölle Rache kocht in meinem Herzen performed by Lucie Kaňková has a different character, which the singer underlined with a dramatic speech. Her impeccable, pure coloratura, staccato figures with a culminating note of F6 not only had the necessary ecstatic expression, at the same time sung with absolute precision and ease in her rendition, but also the necessary, correct phrasing, without the slightest mistake in phrase breaks. Moreover – in this case, too, the conductor Kattah has taken the liberty of improvising in the setting of the work, adding a long note F6 (in contradiction to the score), which is thus a huge risk, since on the one hand it risks not coming out as aesthetically pleasing, sounding shrill, and on the other hand it may have an effect in the intonational sense on the other notes that make up the phrase. And there is, of course, another risk: how will the audience be able to accept such a notorious aria in which they know every single note? And in this case it really isn’t just about the high notes. To sing the Queen of the Night is tantamount to top sport. You can hear every single note in the aria – there is no pretending, it must sound pure, dramatic, no portamenti are allowed. Lucie Kaňková, however, managed it brilliantly and the audience rewarded her for it.”
“The Queen of the Night of both premieres was the young Czech coloratura soprano Lucie Kaňková, one of the few optimal (if not the only one) representatives of the supremely difficult part in the Czech and Slovak region. In both arias she demonstrated not only technical virtuosity (at the premiere she even added an unwritten held high F in Der Hölle Rache), but also that dramatic dimension that the role inevitably needs.”
Aikaisemmat tuotantoarvostelut
7O inšpiratívnej a umelecky zodpovedne pripravenej novej opernej inscenácii Čarovnej flauty v opere Štátneho divadla v Košiciach sa už toho vie dosť na úrovni odbornej i laickej verejnosti, ako aj z objektívne zhodnotených dvoch premiér (17. a 18. 2. 2023), autorizovaných optikou Pavla Ungera. Na prvej repríze sa v dvoch postavách predstavili ďalší pozoruhodní sólisti.
“Finally, we come to one of the highlights of the evening – the Queen of the Night, by the Czech coloratura soprano Lucie Kaňková. The aria O zittre nicht, mein lieber Sohn was performed, and although it remains in the shadow of the second, more popular Der Hölle Rache kocht in meinem Herzen, certainly the first appearance of the Queen of the Night brought, in next to the high notes also a beautiful, heartfelt lyrical part performed by Kaňková: in a slow tempo, she was able to bind the notes with precision, with clear intonation, with elaborate dynamics. But what was obvious at first sight – this was exemplary Mozartian singing. Balanced, without bel canto tone, phrasing or expression, without that extraordinarily voluminous tone that is simply not to be found in Mozart. The soprano showed vocal flexiblity, a sense of lyric but also dramatic expression, and confidence in her high tessitura. The second aria Der Hölle Rache kocht in meinem Herzen performed by Lucie Kaňková has a different character, which the singer underlined with a dramatic speech. Her impeccable, pure coloratura, staccato figures with a culminating note of F6 not only had the necessary ecstatic expression, at the same time sung with absolute precision and ease in her rendition, but also the necessary, correct phrasing, without the slightest mistake in phrase breaks. Moreover – in this case, too, the conductor Kattah has taken the liberty of improvising in the setting of the work, adding a long note F6 (in contradiction to the score), which is thus a huge risk, since on the one hand it risks not coming out as aesthetically pleasing, sounding shrill, and on the other hand it may have an effect in the intonational sense on the other notes that make up the phrase. And there is, of course, another risk: how will the audience be able to accept such a notorious aria in which they know every single note? And in this case it really isn’t just about the high notes. To sing the Queen of the Night is tantamount to top sport. You can hear every single note in the aria – there is no pretending, it must sound pure, dramatic, no portamenti are allowed. Lucie Kaňková, however, managed it brilliantly and the audience rewarded her for it.”
"Some members of the ensemble are quarantining, fortunately we have alternations for solo roles. Covid cannot be planned, and yet even in this situation, all participants work hard, "inform the audience representatives of the Silesian Theater. The production was prepared by a team consisting of the head of the opera and conductor Vojtěch Spurný, conductor Alena Jelínková, director Jana Andělová Pletichová, costume designer Michaela Savovová, choirmaster Kremena Pešakov and choreographer Martin Tomsa. The main roles will be performed by Pavel Klečka, Alexander Vovk, Barbora Čechová, Lucie Kaňková, Viktor Bezkorovainyi, Juraj Nociar, Michael Kubečka, Jiří Přibyl, Dalibor Hrda, Petr Urbánek, Hana Dobešová, Dominika Škrabalová and others.
“Lucie Kaňková profiles as a very promising coloratura singer and she has experience with the baroque repertoire. She sang her part with confidence in its entirety in a voice of pleasant color. She was an impressive Poppea in every way. … ”
The young soprano Lucia Kaňková, who has excellent preconditions for key lirico-spinto roles, succeeded in her charming acting and singing creations. As Barče she managed to draw attention to herself non-violently, her moves were great and with the aria Hlásej, ptáčku she assured the audience that applauded enthusiastically she is a great promise for the future.
“Lucie Kaňková impressed in the demanding role of Fiordiligi in terms of the range and tessitura with a freely formed tone, a pleasant, round timbre of her soprano even in the highest positions by cultivated and musical phrasing. The big aria of Fiordiligi turned out to be excellent…. Excellent singing performance, even dominant in the given production, moreover emphasized by the natural charm and the immediate acting of the protagonist of the evening.”
