(Danielle de Niese, como Susanna - As Bodas de Fígaro, Met Opera House -, à esquerda)
A estreia de Danielle de Niese no Met, como Susanna, parece ter sido marcada pelo sucesso.
Há uns anos, o registo handeliano da belíssima de Niese decepcionou-me muitíssimo...
Eis, em síntese, o essencial desta As Bodas de... Susanna:
«Most notably Danielle de Niese, a natural comic actress, in her first Met Susanna, brought an ebullient playfulness to the role, particularly in her scenes with Cherubino and the Countess. But she was not just a comedian; in her scenes with the Count she conveys the sense that beneath her flirtatiousness Susanna knows she is playing with fire and is constantly recalculating her moves.
Ms. de Niese’s lyric soprano has a good, solid top supported by a firm middle range that yields a full, if not especially loud, rounded tone that can be momentarily disconcerting if you expect the bright soubrette voice that has become the norm in this role. But Ms. de Niese recast Susanna in her own image and was at her most persuasive in her passionate account of “Deh! Vieni, non tardar,” in the final act.»
A estreia de Danielle de Niese no Met, como Susanna, parece ter sido marcada pelo sucesso.
Há uns anos, o registo handeliano da belíssima de Niese decepcionou-me muitíssimo...
Eis, em síntese, o essencial desta As Bodas de... Susanna:
«Most notably Danielle de Niese, a natural comic actress, in her first Met Susanna, brought an ebullient playfulness to the role, particularly in her scenes with Cherubino and the Countess. But she was not just a comedian; in her scenes with the Count she conveys the sense that beneath her flirtatiousness Susanna knows she is playing with fire and is constantly recalculating her moves.
Ms. de Niese’s lyric soprano has a good, solid top supported by a firm middle range that yields a full, if not especially loud, rounded tone that can be momentarily disconcerting if you expect the bright soubrette voice that has become the norm in this role. But Ms. de Niese recast Susanna in her own image and was at her most persuasive in her passionate account of “Deh! Vieni, non tardar,” in the final act.»
