La resurrezione · L'Auditori (Barcelona)
Revista Musical Catalana (26.11.22) · Lluís Trullén
Adding a set of factors that are favourable is sure to favour a final result of optimum quality (...). An interpretative triumph in which Dani Espasa's ability to unite voices and different instrumental groups in the arias stood out. The violins in unison accompanying Sabata's voice in the aria 'Augeletti ruscelleti', or the work of the flute and viola da gamba in 'Firma el ali, e sui misi lumi', with the delightful voice of an exceptional Sunhae Im as Mary Magdalene, would be two examples of this sonorous balance achieved between voices and instrumental accompaniment. Dani Espasa, year after year, with this team that makes up Vespres d'Arnadí, is achieving results of a solidity, depth and musicological work that are certainly admirable, which we can compare with the reference versions bequeathed by Nicholas McGegan, Mark Minkowski or Trevor Pinnock, much more richly nourished at the instrumental level.
ABC (25.11.22) · Pep Gorgori
Last Wednesday we had the chance to witness at L'Auditori de Barcelona a display of talent that makes us proud of the performers we have close to us. The ensemble Vespres d'Arnadí, with its conductor Daniel Espasa at the helm and a cast of more than solvent soloists, tackled the oratorio 'La resurrezione' by Händel.
(...)
Daniel Espasa is probably one of the greatest musical minds in the country. This is not hyperbole: his genius is evident whatever he does. At the harpsichord, at the organ, at the piano, in chamber music, at the head of his 'Vespres'.... Music that he plays, music that is automatically turned into gold for the ears of the public.
(...)
Of the instrumental ensemble, many successes could be mentioned, but let's keep one: the absolute rapport between the concertmaster Farran Sylvan James and the violagambist Juan Manuel Quintana, which was fundamental in the work of the rest of the group.
Adding a set of factors that are favourable is sure to favour a final result of optimum quality (...). An interpretative triumph in which Dani Espasa's ability to unite voices and different instrumental groups in the arias stood out. The violins in unison accompanying Sabata's voice in the aria 'Augeletti ruscelleti', or the work of the flute and viola da gamba in 'Firma el ali, e sui misi lumi', with the delightful voice of an exceptional Sunhae Im as Mary Magdalene, would be two examples of this sonorous balance achieved between voices and instrumental accompaniment. Dani Espasa, year after year, with this team that makes up Vespres d'Arnadí, is achieving results of a solidity, depth and musicological work that are certainly admirable, which we can compare with the reference versions bequeathed by Nicholas McGegan, Mark Minkowski or Trevor Pinnock, much more richly nourished at the instrumental level.
ABC (25.11.22) · Pep Gorgori
Last Wednesday we had the chance to witness at L'Auditori de Barcelona a display of talent that makes us proud of the performers we have close to us. The ensemble Vespres d'Arnadí, with its conductor Daniel Espasa at the helm and a cast of more than solvent soloists, tackled the oratorio 'La resurrezione' by Händel.
(...)
Daniel Espasa is probably one of the greatest musical minds in the country. This is not hyperbole: his genius is evident whatever he does. At the harpsichord, at the organ, at the piano, in chamber music, at the head of his 'Vespres'.... Music that he plays, music that is automatically turned into gold for the ears of the public.
(...)
Of the instrumental ensemble, many successes could be mentioned, but let's keep one: the absolute rapport between the concertmaster Farran Sylvan James and the violagambist Juan Manuel Quintana, which was fundamental in the work of the rest of the group.
Capriccio · Espacio Turina (Seville)
Beckmesser (22.11.22) · Andrés Moreno Mengíbar
It will be difficult to repeat the possibility of hearing Vivica Genaux again in an intimate recital designed expressly for her to give all that she treasures as a singer and as an artist. (...) Genaux showed her true colours in terms of control of the voice and her capacity for coloratura and ornamentation. On a voice of very personal and unmistakable tints, dense, corporeal, deep in the bass and shining in the highs, with shaded tones ('voix sombrée', as the Malibrán's brother, Manuel Patricio García, called it) but with a perfect projection, Genaux deployed all the ornamental pyrotechnics that she masters like few singers. (...) This is where the true artist is discovered in comparison with the mere mechanical display.
El Correo de Andalucía (20.11.22) · Juan José Roldán
Hers (Vivica Genaux's) is not only a mere musical interpretation but a paragon of acting, full of contrasts, comic when the occasion demands it, serious and tormented at other times, always perfect in attitude and register. Not to mention her colouratura, capable of the most circus-like agilities.
(...)
In short, an unforgettable evening, with an extremely elegant singer in singing, interpretation, attitude and attire, and with the unbeatable collaboration of Gigi Pinardi, who brought to the ensemble a delicacy and ductility not within the reach of any performer, always in perfect harmony and balanced dialogue with this not at all capricious diva, capable of passing with flying colours the examination to which such a demanding and varied programme subjected her.
ABC (20.11.22) · Carlos Tarín
These high notes were reached with ease by Vivica Genaux, demonstrating a mastery of articulation even in the fastest vocal passages (...) Genaux left a good taste in the mouth, with a smile that was not lost, great naturalness, a wide variety of resources and plenty of affection and affection.
It will be difficult to repeat the possibility of hearing Vivica Genaux again in an intimate recital designed expressly for her to give all that she treasures as a singer and as an artist. (...) Genaux showed her true colours in terms of control of the voice and her capacity for coloratura and ornamentation. On a voice of very personal and unmistakable tints, dense, corporeal, deep in the bass and shining in the highs, with shaded tones ('voix sombrée', as the Malibrán's brother, Manuel Patricio García, called it) but with a perfect projection, Genaux deployed all the ornamental pyrotechnics that she masters like few singers. (...) This is where the true artist is discovered in comparison with the mere mechanical display.
El Correo de Andalucía (20.11.22) · Juan José Roldán
Hers (Vivica Genaux's) is not only a mere musical interpretation but a paragon of acting, full of contrasts, comic when the occasion demands it, serious and tormented at other times, always perfect in attitude and register. Not to mention her colouratura, capable of the most circus-like agilities.
(...)
In short, an unforgettable evening, with an extremely elegant singer in singing, interpretation, attitude and attire, and with the unbeatable collaboration of Gigi Pinardi, who brought to the ensemble a delicacy and ductility not within the reach of any performer, always in perfect harmony and balanced dialogue with this not at all capricious diva, capable of passing with flying colours the examination to which such a demanding and varied programme subjected her.
ABC (20.11.22) · Carlos Tarín
These high notes were reached with ease by Vivica Genaux, demonstrating a mastery of articulation even in the fastest vocal passages (...) Genaux left a good taste in the mouth, with a smile that was not lost, great naturalness, a wide variety of resources and plenty of affection and affection.
Invisibili · Auditorio Nacional de Música (Madrid)
Scherzo (11.10.22) · Eduardo Torrico
Its repeated presence in recent years in the Universo Barroco of the Centro Nacional de Difusión Musical (CNDM) has made Vespres d'Arnadí one of the favourite ensembles of the faithful and knowledgeable audience of this cycle. Whether it comes in large or small format - as was the case with last night's concert - the ensemble led by Dani Espasa always ends up with cheers and praise. A close and sincere bond has been established, which hopefully will be prolonged in time, because each proposal by the Barcelona group is always most interesting and stimulating.
(...)
The orchestra was magnificent throughout, made up of three first violins (with Sylvan James at the front), two second violins (with the great Luca Giardini as luxury reinforcement for the occasion), viola, cello, double bass, archlute and harpsichord, as well as the oboe of Pere Saragossa, who played an outstanding and brilliant role in a couple of arias alongside Sabata.
Its repeated presence in recent years in the Universo Barroco of the Centro Nacional de Difusión Musical (CNDM) has made Vespres d'Arnadí one of the favourite ensembles of the faithful and knowledgeable audience of this cycle. Whether it comes in large or small format - as was the case with last night's concert - the ensemble led by Dani Espasa always ends up with cheers and praise. A close and sincere bond has been established, which hopefully will be prolonged in time, because each proposal by the Barcelona group is always most interesting and stimulating.
(...)
The orchestra was magnificent throughout, made up of three first violins (with Sylvan James at the front), two second violins (with the great Luca Giardini as luxury reinforcement for the occasion), viola, cello, double bass, archlute and harpsichord, as well as the oboe of Pere Saragossa, who played an outstanding and brilliant role in a couple of arias alongside Sabata.
Roberto Devereux · Teatro de la Maestranza (Seville)
Mundo Clásico (14.11.22) · Pedro Coco
The minor roles, especially the tenor Alejandro del Cerro, were judiciously selected.
Codalario (13.11.22) · José Amador Morales
Exceptional Alejandro del Cerro as Lord Cecil as well as Javier Castañeda and Ricardo Llamas in their respective roles.
Scherzo (11.11.22) · Jacobo Cortines
Very professional, the others: Alejandro del Cerro, Javier Castañeda and Ricardo Llamas.
Platea Magazine (10.11.22) · Javier del Olivo
The reduced group of secondary roles (Alejandro del Cerro, Javier Castañeda and Ricardo Llamas) were very good, fulfilling their short roles very well.
Ópera Actual (10.11.22) · Ismael G. Cabral
A good group of secondary roles, with a specific mention for Alejandro del Cerro.
Diario de Sevilla (09.11.22) · Andrés Moreno Mengíbar
Superb supporting singers (especially Alejandro del Cerro).
The minor roles, especially the tenor Alejandro del Cerro, were judiciously selected.
Codalario (13.11.22) · José Amador Morales
Exceptional Alejandro del Cerro as Lord Cecil as well as Javier Castañeda and Ricardo Llamas in their respective roles.
Scherzo (11.11.22) · Jacobo Cortines
Very professional, the others: Alejandro del Cerro, Javier Castañeda and Ricardo Llamas.
Platea Magazine (10.11.22) · Javier del Olivo
The reduced group of secondary roles (Alejandro del Cerro, Javier Castañeda and Ricardo Llamas) were very good, fulfilling their short roles very well.
Ópera Actual (10.11.22) · Ismael G. Cabral
A good group of secondary roles, with a specific mention for Alejandro del Cerro.
Diario de Sevilla (09.11.22) · Andrés Moreno Mengíbar
Superb supporting singers (especially Alejandro del Cerro).
Aida · Teatro Real (Madrid)
Platea Magazine (05.11.22) · Gonzalo Lahoz
The cast was rounded off by Alexander Vinogradov's outstanding Ramfis, with a strong voice and brilliance, as well as the wonderful Fabián Lara and Jacquelina Livieri as the messenger and priestess.
Opera World (30.10.22) · María Pardo
The cast is rounded off by the soprano Jacquelina Livieri as the great priestess, with vocal competence and skill.
Scherzo (27.10.22) · Fernando Fraga
(...) Jacquelina Livieri, a priestess who is well suited to the part.
Beckmesser (26.10.22) · José María Irurzun
In the outline characters, the good voice of Fabián Lara in the part of the Messenger and the performance of Marta Bauza (actually Jaquelina Livieri) as the Priestess should be noted.
Ópera Actual (25.10.22) · José María Marco
Good the priestess of Jaquelina Livieri.
The cast was rounded off by Alexander Vinogradov's outstanding Ramfis, with a strong voice and brilliance, as well as the wonderful Fabián Lara and Jacquelina Livieri as the messenger and priestess.
Opera World (30.10.22) · María Pardo
The cast is rounded off by the soprano Jacquelina Livieri as the great priestess, with vocal competence and skill.
Scherzo (27.10.22) · Fernando Fraga
(...) Jacquelina Livieri, a priestess who is well suited to the part.
Beckmesser (26.10.22) · José María Irurzun
In the outline characters, the good voice of Fabián Lara in the part of the Messenger and the performance of Marta Bauza (actually Jaquelina Livieri) as the Priestess should be noted.
Ópera Actual (25.10.22) · José María Marco
Good the priestess of Jaquelina Livieri.
Fuenteovejuna · Auditorio de Tenerife
Ópera Actual (23.10.22) · Estrella Ortega
Soprano María Miró gave an excellent performance as Laurencia, a character who, bloodied and inflamed by anger at being raped, confronts her countrymen, reproaches them and demands revenge. This is the crux of the work: without this convincing scene the story would make no sense.
Bachtrack (21.10.22) · Francisco Martínez Ramos
The solo singers were also very adequate, both vocally and dramatically, with Maria Miró's stellar performance as Laurencia standing out. A soprano of great dramatic vein, with power and vocal mastery, she managed to exemplarily reflect the vicissitudes of the character.
Soprano María Miró gave an excellent performance as Laurencia, a character who, bloodied and inflamed by anger at being raped, confronts her countrymen, reproaches them and demands revenge. This is the crux of the work: without this convincing scene the story would make no sense.
Bachtrack (21.10.22) · Francisco Martínez Ramos
The solo singers were also very adequate, both vocally and dramatically, with Maria Miró's stellar performance as Laurencia standing out. A soprano of great dramatic vein, with power and vocal mastery, she managed to exemplarily reflect the vicissitudes of the character.
Norma · Teatro Campoamor (Oviedo)
Opera World (13.10.22) · Pablo Alvárez Siana
If the opera is armed with a balanced cast, this was helped by the brief but tight interventions of both Flavio (Facundo Muñoz) and Clotilde (Serena Pérez), with the Asturian being a piece to complete the voices of this tragedy with so much sacrifice.
Ópera Actual (10.10.22) · Cosme Marina
Both Facundo Muñoz and Serena Pérez performed well as Flavio and Clotilde, respectively.
If the opera is armed with a balanced cast, this was helped by the brief but tight interventions of both Flavio (Facundo Muñoz) and Clotilde (Serena Pérez), with the Asturian being a piece to complete the voices of this tragedy with so much sacrifice.
Ópera Actual (10.10.22) · Cosme Marina
Both Facundo Muñoz and Serena Pérez performed well as Flavio and Clotilde, respectively.
Pan y toros · Teatro de la Zarzuela (Madrid)
Codalario (10.10.22) · Raúl Chamorro
Francisco de Goya, the immortal genius of painting, an enlightened intellectual, liberal and always concerned about the destiny of Spain, benefited from the baritonal timbre of Gerardo Bullón, who was beautiful, noble and with a fine stage presence.
Scherzo (09.10.22) · Manuel García Franco
The performance of the three baritones Borja Quiza (Capitán Peñaranda), Gerardo Bullón (Goya) and Carlos Daza (Pepe-Hillo) was superb. They displayed their solid singing and acting ability.
Platea Magazine (09.10.22) · Gonzalo Lahoz
Borja Quiza's Peñaranda is again another success (...), as well as is Gerardo Bullón's Goya, one of the noblest voices heard in recent generations of Spanish baritones.
Ópera Actual (08.10.22) · Mario Muñoz
Borja Quiza as Captain Peñaranda and Gerardo Bullón's heroic Goya are also at a high level.
Shangay (07.10.22) · Nacho Fresno
Gerardo Bullón brings Goya to life splendidly.
Francisco de Goya, the immortal genius of painting, an enlightened intellectual, liberal and always concerned about the destiny of Spain, benefited from the baritonal timbre of Gerardo Bullón, who was beautiful, noble and with a fine stage presence.
Scherzo (09.10.22) · Manuel García Franco
The performance of the three baritones Borja Quiza (Capitán Peñaranda), Gerardo Bullón (Goya) and Carlos Daza (Pepe-Hillo) was superb. They displayed their solid singing and acting ability.
Platea Magazine (09.10.22) · Gonzalo Lahoz
Borja Quiza's Peñaranda is again another success (...), as well as is Gerardo Bullón's Goya, one of the noblest voices heard in recent generations of Spanish baritones.
Ópera Actual (08.10.22) · Mario Muñoz
Borja Quiza as Captain Peñaranda and Gerardo Bullón's heroic Goya are also at a high level.
Shangay (07.10.22) · Nacho Fresno
Gerardo Bullón brings Goya to life splendidly.
Mathéu & Potter · Palau de la Música Catalana (Barcelona)
Scherzo (06.10.22) · Lluís Trullén
The work of Vespres d'Arnadí orchestra, conducted by Dani Espasa, deserves a special mention. Precision, cohesion, powerful sound and a very refined technique, as was demonstrated in the twenty variations on Gemianini's La Follia or in the delicate vocal accompaniments, with a refinement that is not at odds with a corporeal and precise sound in the conjunction between strings, winds and basso continuo. This is a group that continues to dazzle concert after concert.
The work of Vespres d'Arnadí orchestra, conducted by Dani Espasa, deserves a special mention. Precision, cohesion, powerful sound and a very refined technique, as was demonstrated in the twenty variations on Gemianini's La Follia or in the delicate vocal accompaniments, with a refinement that is not at odds with a corporeal and precise sound in the conjunction between strings, winds and basso continuo. This is a group that continues to dazzle concert after concert.
The lost cat · Gran Teatre del Liceu (Barcelona)
Ópera Actual (06.10.22) · Aniol Costa-Pau
In this sound that highlighted the singers above the young orchestra of the Conservatori del Liceu, the compact timbre of baritone Pau Armengol (Magnate), the sharp coloraturas of soprano Rocío Martínez (Arquitecta) and the gravity of mezzo-soprano Marta Infante (Curator) stood out.
El Periódico (05.10.22) · Pablo Meléndez-Haddad
Everything is made more digestible thanks to Ricard Soler Mallol's splendid and massive stage direction - although Anna Macau's choreography is superfluous - and, above all, thanks to the effort and professionalism of soloists such as Pau Armengol (Magnate), Rocío Martínez (Architect), Marta Infante (Curator), Albert Casals (Detective), Dianne Ico (Cat), Joan Sáez (Secretary) and Óscar Peñarroya (Camel).
In this sound that highlighted the singers above the young orchestra of the Conservatori del Liceu, the compact timbre of baritone Pau Armengol (Magnate), the sharp coloraturas of soprano Rocío Martínez (Arquitecta) and the gravity of mezzo-soprano Marta Infante (Curator) stood out.
El Periódico (05.10.22) · Pablo Meléndez-Haddad
Everything is made more digestible thanks to Ricard Soler Mallol's splendid and massive stage direction - although Anna Macau's choreography is superfluous - and, above all, thanks to the effort and professionalism of soloists such as Pau Armengol (Magnate), Rocío Martínez (Architect), Marta Infante (Curator), Albert Casals (Detective), Dianne Ico (Cat), Joan Sáez (Secretary) and Óscar Peñarroya (Camel).