So far, Diana Damrau continua a ser, apenas, mais um soprano coloratura. A sua discografia – nomeadamente este registo – em nada me impressiona… A Rainha da Noite que interpretou em Covent Garden, há uns anos, pouco me entusiasmou.
Serei céptico, talvez. For the moment, aguardo uma verdadeira prova de fogo, que transporte a artista para o palco dos eleitos.
Ao que tudo indica, Diana Damrau fez furor na Lucia do Met, há escassos dias:
«It takes pluck for a soprano to sing her first-ever performance of the touchstone title role in Donizetti’s “Lucia di Lammermoor” at the Metropolitan Opera. But Diana Damrau is a confident young artist. And this brilliant young German coloratura soprano has a lot to be confident about.
On Friday night Ms. Damrau had an impressive outing as Lucia in the Met’s revival of Mary Zimmerman’s inventive 2007 production, which zaps the story from 17th-century to 19th-century Scotland.
At first Ms. Damrau needed some time to warm up vocally. As Lucia tells her companion Alisa of having fallen helplessly in love with Edgardo, heir to the rival Ravenswood clan and her overbearing brother’s mortal enemy, Ms. Damrau’s wistful and subdued singing seemed tentative. During the lyrically soaring aria “Regnava nel silenzio,” in which Lucia describes the ghost of an ancestor who was killed by a jealous Ravenswood lover, Ms. Damrau tucked a few extra breathing spaces into some of the lines, and her full-voiced high notes were somewhat hard-edged.
But soon, during “Quando, rapito in estasi,” in which Lucia’s girlish ardor comes bubbling out, Ms. Damrau dispatched the passage work, trills and top notes with aplomb. Her sound was warm, plush and clear. This frenetic Lucia, who sees ghosts and acts rashly, already seemed to be emotionally fragile.
As Ms. Damrau played the daunting mad scene, the unhinged young woman, having stabbed to death the man she was forced to marry — the well-meaning Lord Arturo — was not vacant-eyed and spectral, like many Lucias. Instead she was fidgety and manic, all spastic bodily gestures as she lurched about the ballroom of Lammermoor Castle before the horrified wedding guests. She was like Vivien Leigh’s broken-down, jabbering yet still flirtatious Blanche DuBois in the final scene of “A Streetcar Named Desire.”
That Ms. Damrau executed the scene’s spiraling vocal roulades so accurately and held sustained tones with such penetrating steadiness lent a quality of eerie control to Lucia’s madness. And her gleaming top notes filled the house.
(...)
But it was Ms. Damrau’s night. During the rousing final ovation she took to the stage like a rock star, looking exultant.»
Pacientemente, mantenho as minhas reservas.
Serei céptico, talvez. For the moment, aguardo uma verdadeira prova de fogo, que transporte a artista para o palco dos eleitos.
Ao que tudo indica, Diana Damrau fez furor na Lucia do Met, há escassos dias:
«It takes pluck for a soprano to sing her first-ever performance of the touchstone title role in Donizetti’s “Lucia di Lammermoor” at the Metropolitan Opera. But Diana Damrau is a confident young artist. And this brilliant young German coloratura soprano has a lot to be confident about.
On Friday night Ms. Damrau had an impressive outing as Lucia in the Met’s revival of Mary Zimmerman’s inventive 2007 production, which zaps the story from 17th-century to 19th-century Scotland.
At first Ms. Damrau needed some time to warm up vocally. As Lucia tells her companion Alisa of having fallen helplessly in love with Edgardo, heir to the rival Ravenswood clan and her overbearing brother’s mortal enemy, Ms. Damrau’s wistful and subdued singing seemed tentative. During the lyrically soaring aria “Regnava nel silenzio,” in which Lucia describes the ghost of an ancestor who was killed by a jealous Ravenswood lover, Ms. Damrau tucked a few extra breathing spaces into some of the lines, and her full-voiced high notes were somewhat hard-edged.
But soon, during “Quando, rapito in estasi,” in which Lucia’s girlish ardor comes bubbling out, Ms. Damrau dispatched the passage work, trills and top notes with aplomb. Her sound was warm, plush and clear. This frenetic Lucia, who sees ghosts and acts rashly, already seemed to be emotionally fragile.
As Ms. Damrau played the daunting mad scene, the unhinged young woman, having stabbed to death the man she was forced to marry — the well-meaning Lord Arturo — was not vacant-eyed and spectral, like many Lucias. Instead she was fidgety and manic, all spastic bodily gestures as she lurched about the ballroom of Lammermoor Castle before the horrified wedding guests. She was like Vivien Leigh’s broken-down, jabbering yet still flirtatious Blanche DuBois in the final scene of “A Streetcar Named Desire.”
That Ms. Damrau executed the scene’s spiraling vocal roulades so accurately and held sustained tones with such penetrating steadiness lent a quality of eerie control to Lucia’s madness. And her gleaming top notes filled the house.
(...)
But it was Ms. Damrau’s night. During the rousing final ovation she took to the stage like a rock star, looking exultant.»
Pacientemente, mantenho as minhas reservas.
1 comentário:
Ouvi os excertos da sua Lucia no youtube e pareçeu-me meramente competente. Uma boa voz com agudos faceis mas sempre tendencialmente estridentes, um timbre um pouco vulgar, boa agilidade , alguma imaturidade interpretativa e um estilo Donizetiano muito descutivel. Tem potencial mas talvez este não seja o reportório mais adequado.
J. Ildefonso.
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