![]() ![]() And in Violetta’s great aria in the final act, “Addio del passato,” Ms. Oropesa’s singing was wonderful, and exquisitely sad in the aching “Dite alla giovine,” in which Violetta agrees to give up Alfredo so that his sister’s marriage plans will not be derailed by the scandal of the family’s new connection to a courtesan. In Act II, when she and Alfredo have fled Paris to enjoy their love in the country, it made sense that Alfredo was truly shocked to learn that Violetta was selling her possessions to support their life.ĭuring the long scene with Germont, Alfredo’s disapproving father, Ms. And you understood why this nice-guy type would appeal to her. Oropesa’s larger-than-life Violetta, his demeanor worked. Pretti, who has a warm, mellow voice, came across as an earnest young man, in awe of the glamorous Violetta, and a bit clueless. Her Alfredo was the tenor Piero Pretti, who took on the role after the star tenor Vittorio Grigolo was fired in December following allegations of inappropriate behavior. Here was a young woman determined to prove that she was undaunted and would remain, as she later sings, “sempre libera”: always free. Oropesa’s interpretation, an intentional touch of tremulous fervor in her sound, even as she let bright-voiced, ebullient phrases soar. Yet you could detect a trace of forced vivacity in Ms. Oropesa breezily dispatched runs and embellishments as she mingled with her guests and met Alfredo, the smitten young man from a bourgeois family who has been pining for her from afar. In Act I, when Violetta, a charming courtesan, is throwing a lavish party, a soprano must summon flights of coloratura brilliance and coquettish sparkle. Oropesa emerged on Wednesday as a major Violetta. Oropesa is following Aleksandra Kurzak’s riveting account at the Met last month, when Michael Mayer’s 2018 production returned.īut combining exquisite singing, youthful allure, affecting vulnerability and, by the end, bleak intensity, Ms. It can be hard for a soprano to stand out among the enormous horde of singers who have taken on this touchstone role. This fall she won rave reviews and ardent ovations in the title role of Massenet’s “Manon.” And on Wednesday, she sang her first performance with the company as Violetta in Verdi’s “La Traviata.” Thank you.At 36, the soprano Lisette Oropesa is in the midst of what should be a star-making season at the Metropolitan Opera. ![]() In the event a disturbance does occur, please be patient. On occasion there may be visual or sound disturbances that are beyond theīardavon’s control. ![]() Metropolitan Opera House in New York City. Reminder: This is a live satellite broadcast direct from the Promotional support courtesy of WMHT – FM 88.7 Poughkeepsie. Strong Opera Fund and the Stephen & Julia Dunwell Fund, both of the Community Foundations of the Hudson Valley. Edwin Ulrich Charitable Trust, the Benjamin R. Made possible through the support of Premier Medical Group, the Jane W. Ticket holders are invited to a pre-opera talk by Leslie Gerber 30 minutes prior to curtain time in the theater. Tenor Stephen Costello is her self-centered lover Alfredo, alongside baritone Luca Salsi as his disapproving father and Maestro Daniele Callegari on the podium. Soprano Nadine Sierra stars as the self-sacrificing courtesan Violetta-one of opera’s ultimate heroines-in Michael Mayer’s vibrant production of Verdi’s beloved tragedy. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |