Stephanie Blythe

«DURING the Metropolitan Opera’s 2004-5 season, when the mezzo-soprano Stephanie Blythe sang Eduige in a new production of Handel’s “Rodelinda,” I was not the only opera fan who thought that here, at last, was the true successor to Marilyn Horne in the Baroque and bel canto repertory.

Ms. Blythe’s performance had everything: rich colorings, unforced power, exquisite phrasing and impressively agile coloratura runs, with all the notes executed honestly — no cheating. Soon, it seemed certain, she would be in demand everywhere, as companies mounted productions of heroic Rossini operas that have languished since Ms. Horne left the stage.

But as Ms. Blythe’s career has progressed, the field of opera has had to keep adjusting its take on her. In December she sang her first Met performances as Ulrica in Verdi’s “Ballo in Maschera,” a vocally lustrous and dramatically chilling portrayal of a role far removed from Handel.

Then last month she sang her first Fricka at the Met in Wagner’s “Walküre,” absolutely holding her own with the great Wotan of our time, James Morris. Again critics, fans and bloggers were abuzz that Ms. Blythe seemed destined to claim the Wagner repertory as well.»

Se a senhora substitui o lugar há muito deixado vago por M. Horne, não sei, nem interessa.
É talentosa e vem trilhando, há uns bons dez anos, uma carreira interessante.
Entretanto, a imprensa europeia é prodiga em banalizar o trabalho da senhora, 100% made in the US.
Cá para nós, fiel leitor, é bom sinal!

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