Marie · Teatro Lope de Vega (Sevilla)
Diario de Sevilla (10.04.21) · Pablo J. Vayón
(...) From the point of view of music, perhaps the most interesting thing is the singing, with the use of three different vocal registers (the natural voice, the falsetto and the fry, a style of interpretation that exploits the lower fringes of the voices) by two singers who were absolutely superb. Due to stage presence, technical resources and expressive capacity, Nicola Beller Carbone and Xavier Sabata ate the work from beginning to end.
(...) From the point of view of music, perhaps the most interesting thing is the singing, with the use of three different vocal registers (the natural voice, the falsetto and the fry, a style of interpretation that exploits the lower fringes of the voices) by two singers who were absolutely superb. Due to stage presence, technical resources and expressive capacity, Nicola Beller Carbone and Xavier Sabata ate the work from beginning to end.
Argippo · Teatro de la Maestranza (Seville) - National Auditorium (Madrid)
Opera World (01.04.21) · Federico Figueroa // Madrid
Vivica Genaux is well known in Madrid and she knows how to connect with this audience. From the end of her first vocal appearance, with the aria 'Anche il mezzo a perigliosa' by Galeazzi, she received a round of applause. The Alaskan singer maintains in good condition the virtues for which she is so appreciated: ease in the agility, wide and homogeneous register and that very personal tone that makes her easily identifiable.
Beckmesser (31.03.21) · Arturo Reverter // Madrid
The role of Argippo was sung by Vivica Genaux, very common among us. As always, she wore her generous lyrical mezzo timbre, of variable colour, which she handles with diabolical skill, without problems in difficult agility, with colossal 'di sbalzo' jumps. She exhibits her usual quick syllabication and exact placement technique through surprising facial gymnastics. She left (the audience) seated already in her first aria, 'Anche in mezzo a perigliosa' (No. 9), attributed to Galeazzi, in which he showed the well-established register of her chest.
Ópera Actual (30.03.21) · Ismael G. Cabral // Seville, in streaming
What a loss not to have been able to enjoy, in the theater, the singing recital that Vivica Genaux gave (not present in the register of the score). All her dramatic, expressive and, above all, her vocal capacities came to light in some interventions in which she alternated plentiful song pyrotechnics and a very measured expression of affections. There was even a sense of belcantism (take the term with caution) in the arias da capo, in which Genaux (Argippo) returned to what she sang before with less torrent, more effectively lyrical sense.
Platea Magazine (30.03.21) · Jordi Lledó Palomares // Madrid
The characters in this opera were embodied in the CNDM by great specialists of the baroque vocal repertoire, such as the great role of King Argippo starring Vivica Genaux. The American mezzo tackled the role, originally written for a castrated, with momentum, robustness and ambition. The warmth, color and many nuances make her voice the fruit of great admiration and ovations, bringing us closer to the most accurate imaginary about the voice of a castrated. In fact, the mezzo is well known for performing arias that were expressly composed for the well-known Farinelli.
Scherzo (30.03.21) · Eduardo Torrico // Madrid
Vivica Genaux also shone, who knows how to put the audience of Madrid in her pocket every time she comes here.
Vivica Genaux is well known in Madrid and she knows how to connect with this audience. From the end of her first vocal appearance, with the aria 'Anche il mezzo a perigliosa' by Galeazzi, she received a round of applause. The Alaskan singer maintains in good condition the virtues for which she is so appreciated: ease in the agility, wide and homogeneous register and that very personal tone that makes her easily identifiable.
Beckmesser (31.03.21) · Arturo Reverter // Madrid
The role of Argippo was sung by Vivica Genaux, very common among us. As always, she wore her generous lyrical mezzo timbre, of variable colour, which she handles with diabolical skill, without problems in difficult agility, with colossal 'di sbalzo' jumps. She exhibits her usual quick syllabication and exact placement technique through surprising facial gymnastics. She left (the audience) seated already in her first aria, 'Anche in mezzo a perigliosa' (No. 9), attributed to Galeazzi, in which he showed the well-established register of her chest.
Ópera Actual (30.03.21) · Ismael G. Cabral // Seville, in streaming
What a loss not to have been able to enjoy, in the theater, the singing recital that Vivica Genaux gave (not present in the register of the score). All her dramatic, expressive and, above all, her vocal capacities came to light in some interventions in which she alternated plentiful song pyrotechnics and a very measured expression of affections. There was even a sense of belcantism (take the term with caution) in the arias da capo, in which Genaux (Argippo) returned to what she sang before with less torrent, more effectively lyrical sense.
Platea Magazine (30.03.21) · Jordi Lledó Palomares // Madrid
The characters in this opera were embodied in the CNDM by great specialists of the baroque vocal repertoire, such as the great role of King Argippo starring Vivica Genaux. The American mezzo tackled the role, originally written for a castrated, with momentum, robustness and ambition. The warmth, color and many nuances make her voice the fruit of great admiration and ovations, bringing us closer to the most accurate imaginary about the voice of a castrated. In fact, the mezzo is well known for performing arias that were expressly composed for the well-known Farinelli.
Scherzo (30.03.21) · Eduardo Torrico // Madrid
Vivica Genaux also shone, who knows how to put the audience of Madrid in her pocket every time she comes here.
Otello · Gran Teatre del Liceu (Barcelona)
Codalario (03.04.21) · Xavi Borja Bucar
(...) Nor was the merit of the intervention of Mireia Pintó as Emilia less, a role with few interventions, but intense, and that the mezzo-soprano from Manresa resolved with character and a strong presence on the stage.
Ópera Actual (29.03.21) · Fernando Sans Rivière
(...) The work of Mireia Pintó as an excellent Emilia was very outstanding.
Platea Magazine (28.03.21) · Alejandro Martínez
(...) And exemplary, as a group, the performance of the rest of the cast, highlighting (...) the extraordinary professionalism of Francisco Vas (Roderigo), Felipe Bou (Lodovico), Fernando Latorre (Montano) and Mireia Pintó (Emilia).
(...) Nor was the merit of the intervention of Mireia Pintó as Emilia less, a role with few interventions, but intense, and that the mezzo-soprano from Manresa resolved with character and a strong presence on the stage.
Ópera Actual (29.03.21) · Fernando Sans Rivière
(...) The work of Mireia Pintó as an excellent Emilia was very outstanding.
Platea Magazine (28.03.21) · Alejandro Martínez
(...) And exemplary, as a group, the performance of the rest of the cast, highlighting (...) the extraordinary professionalism of Francisco Vas (Roderigo), Felipe Bou (Lodovico), Fernando Latorre (Montano) and Mireia Pintó (Emilia).
Capriccio · Círculo de Bellas Artes (Madrid)
Ritmo (19.03.21) · Sol Bordas & Blanca Gutiérrez
We can add little to what has not already been written about the prodigious vocal technique of the American mezzo Vivica Genaux, or about the beauty of her voice, except to indicate that the six months that she has not been able to perform in public have not made a dent in her qualities. Above all this, in addition, Genaux stands out and shines in this type of small-format recital for the quality of her personality, for the charisma that she exudes on stage and the generosity of her performance. (...) Despite the variety of authors and styles, the American singer knew how to carry out a homogeneous recital, where all the styles and differences expressed by the composers and their variety of languages were at the service of the beauty of the voice of the mezzo-soprano. Each note could be perceived as if the melody were a 'pointillist' painting. Each sound with its vibrato, its height, its letter, its nuance were outlined with total clarity. Her voice assumed the absolute prominence on stage, with a slight and simple contribution of harmonies in the chords of Pinardi's guitar, on the other hand a magnificent accompanist. The added appeal of an unusual repertoire, along with the sparkling, warm and emotional personality of Vivica Genaux, rounded out an evening to remember her.
Scherzo (16.03.21) · Michael Thallium
What happened this Sunday at the Teatro Fernando de Rojas of the Círculo de Bellas Artes in Madrid (with the sponsorship of the Montemadrid Foundation) was simply memorable or, if I may use a semantic barter, something so memorably
simple that transcended the purely musical and artistic, creating an atmosphere of intimate beauty between the two artists on stage and the audience. Is there anything simpler than a voice accompanied by a guitar? What is more memorable than the exciting sound of a voice flying over the strumming of the strings and the playing of a guitar? Simplicity in its purest form; purity in its simplest state. A woman, Vivica; a man, Gigi. A voice and a guitar ... And what a voice! I will not be the one to discover now the amazing qualities of the voice of the American mezzo-soprano Vivica Genaux who, accompanied by the Italian guitarist Gigi Pinardi, gave a beautiful recital, as intimate and simple as sublim and majestic. (...) Not only Vivica Genaux's voice is extraordinary, but also her personality: she is a woman who transmits enthusiasm, liveliness, kindness, humility, generosity, gratitude, simplicity. And however what a technical prodigy of her mezzo-soprano voice. (...) Gigi Pinardi, with his guitar, was a worthy accompanist to a beautiful voice that made us enjoy, vibrate and get excited. Vivica: alive, invigorating and varied. Both her colorful voice and her generous personality left us with a feeling of gratitude and the desire to listen her again some day.
We can add little to what has not already been written about the prodigious vocal technique of the American mezzo Vivica Genaux, or about the beauty of her voice, except to indicate that the six months that she has not been able to perform in public have not made a dent in her qualities. Above all this, in addition, Genaux stands out and shines in this type of small-format recital for the quality of her personality, for the charisma that she exudes on stage and the generosity of her performance. (...) Despite the variety of authors and styles, the American singer knew how to carry out a homogeneous recital, where all the styles and differences expressed by the composers and their variety of languages were at the service of the beauty of the voice of the mezzo-soprano. Each note could be perceived as if the melody were a 'pointillist' painting. Each sound with its vibrato, its height, its letter, its nuance were outlined with total clarity. Her voice assumed the absolute prominence on stage, with a slight and simple contribution of harmonies in the chords of Pinardi's guitar, on the other hand a magnificent accompanist. The added appeal of an unusual repertoire, along with the sparkling, warm and emotional personality of Vivica Genaux, rounded out an evening to remember her.
Scherzo (16.03.21) · Michael Thallium
What happened this Sunday at the Teatro Fernando de Rojas of the Círculo de Bellas Artes in Madrid (with the sponsorship of the Montemadrid Foundation) was simply memorable or, if I may use a semantic barter, something so memorably
simple that transcended the purely musical and artistic, creating an atmosphere of intimate beauty between the two artists on stage and the audience. Is there anything simpler than a voice accompanied by a guitar? What is more memorable than the exciting sound of a voice flying over the strumming of the strings and the playing of a guitar? Simplicity in its purest form; purity in its simplest state. A woman, Vivica; a man, Gigi. A voice and a guitar ... And what a voice! I will not be the one to discover now the amazing qualities of the voice of the American mezzo-soprano Vivica Genaux who, accompanied by the Italian guitarist Gigi Pinardi, gave a beautiful recital, as intimate and simple as sublim and majestic. (...) Not only Vivica Genaux's voice is extraordinary, but also her personality: she is a woman who transmits enthusiasm, liveliness, kindness, humility, generosity, gratitude, simplicity. And however what a technical prodigy of her mezzo-soprano voice. (...) Gigi Pinardi, with his guitar, was a worthy accompanist to a beautiful voice that made us enjoy, vibrate and get excited. Vivica: alive, invigorating and varied. Both her colorful voice and her generous personality left us with a feeling of gratitude and the desire to listen her again some day.
Las Calatravas · Teatro de la Zarzuela (Madrid)
Ópera Actual (15.03.21) · José María Marco
(...) Emmanuel Faraldo impressed in the lighter role of Pepe Aleluya.
Opera World (14.03.21) · Opera World
The cast of soloists was completed with brightness and good job by the lyrical-light tenor Emmanuel Faraldo (Pepe Aleluya).
(...) Emmanuel Faraldo impressed in the lighter role of Pepe Aleluya.
Opera World (14.03.21) · Opera World
The cast of soloists was completed with brightness and good job by the lyrical-light tenor Emmanuel Faraldo (Pepe Aleluya).
El barberillo de Lavapiés · Teatro de la Maestranza (Seville)
ABC de Sevilla (11.03.21) · Carlos Tarin
María Miró has also been linked to this production since its beginning, and has a beautiful voice, more fluid and attractive in the high zone, in which she enhances her lyricism, while also having a clear and fluid diction.
El Correo de Andalucía (11.03.21) · Juan José Roldán
We find from an intriguing and self-confident Paloma (...), to the most demure and cerebral Marquesita with the voice of María Miró, a little impossive but with impeccable phrasing and good ornamental taste.
María Miró has also been linked to this production since its beginning, and has a beautiful voice, more fluid and attractive in the high zone, in which she enhances her lyricism, while also having a clear and fluid diction.
El Correo de Andalucía (11.03.21) · Juan José Roldán
We find from an intriguing and self-confident Paloma (...), to the most demure and cerebral Marquesita with the voice of María Miró, a little impossive but with impeccable phrasing and good ornamental taste.