The Fairy Queen · Festival de Peralada
Revista Musical Catalana (25.07.22) · Francesc Xavier Alern
If we go into the historical criteria, we must point out the excellent musical direction. Dani Espasa and Vespres d'Arnadí need no introduction at this point. Of Vespres we will only say that it is a group which, although it has been in existence for almost twenty years, has unquestionable prestige and is made up of young musicians, mostly trained at ESMUC. Little by little it is achieving a central role in the baroque music scene in our country and conquering on its own merits a place that has been occupied for too long by a generation in evident decline.
Ópera Actual (24.07.22) · Antoni Colomer
Dani Espasa, from the pit, brought equal parts theatrical dynamism and lyrical abandon to the Vespres d'Arnadí ensemble, even though the environmental (high temperature and humidity) and acoustic (amplification that was notably in crescendo throughout the show) conditions made the orchestra's work difficult.
Scherzo (23.07.22) · Eduardo Torrico
And what can we say about Vespres d'Arnadi! I will never tire of saying that it is one of the best historicist ensembles in the world right now. The merit is largely due to that humble genius called Dani Espasa, who, like King Midas, turns everything he touches into gold. Everything is always in its place. Don't go listening to this orchestra trying to hunt it down in a hurry, because you will fail hopelessly in your endeavour. Magnificent, as always, the concertmaster, Sylvan James (...).
La Vanguardia (23.07.22) · Maricel Chavarría
Dani Espasa and his baroque ensemble Vespres d'Arnadí participated with confidence in this effect of the opera theatre within the theatre, a resource that Shakespeare also explored.
El Periódico (23.07.22) · Pablo Meléndez-Haddad
In this new staging, the festival did have some luxury performers (hermetically amplified by order of such a busy 'regia') led by Ana Quintals and Dani Espasa and his orchestra Vespres d'Arnadí, in their triumphant return to the festival.
ABC (23.07.22) · Pep Gorgori
Musically, in addition to Sabata's own skill - a beautiful 'Music for a while' - there are two Catalan groups, Vespres d'Arnadí and O vos omnes, under the direction of Dani Espasa and Xavier Pastrana respectively. Espasa excels in conducting a proposal that - it must be admitted - gives preponderance to the stage to the detriment of the sound aspect, often diverting attention to areas unrelated to the score. In any case, local talent getting their hands on Purcell without any complexes - this is something to be celebrated in style!
Ara (23.07.22) · Marta Porter
(...) the wonderful interpretation by Vespres d'Arnadí, led by Dani Espasa, who found the right tension in each passage, and the choir O Vos Omnes, transfigured into operatic characters, provided moments of great musical beauty.
If we go into the historical criteria, we must point out the excellent musical direction. Dani Espasa and Vespres d'Arnadí need no introduction at this point. Of Vespres we will only say that it is a group which, although it has been in existence for almost twenty years, has unquestionable prestige and is made up of young musicians, mostly trained at ESMUC. Little by little it is achieving a central role in the baroque music scene in our country and conquering on its own merits a place that has been occupied for too long by a generation in evident decline.
Ópera Actual (24.07.22) · Antoni Colomer
Dani Espasa, from the pit, brought equal parts theatrical dynamism and lyrical abandon to the Vespres d'Arnadí ensemble, even though the environmental (high temperature and humidity) and acoustic (amplification that was notably in crescendo throughout the show) conditions made the orchestra's work difficult.
Scherzo (23.07.22) · Eduardo Torrico
And what can we say about Vespres d'Arnadi! I will never tire of saying that it is one of the best historicist ensembles in the world right now. The merit is largely due to that humble genius called Dani Espasa, who, like King Midas, turns everything he touches into gold. Everything is always in its place. Don't go listening to this orchestra trying to hunt it down in a hurry, because you will fail hopelessly in your endeavour. Magnificent, as always, the concertmaster, Sylvan James (...).
La Vanguardia (23.07.22) · Maricel Chavarría
Dani Espasa and his baroque ensemble Vespres d'Arnadí participated with confidence in this effect of the opera theatre within the theatre, a resource that Shakespeare also explored.
El Periódico (23.07.22) · Pablo Meléndez-Haddad
In this new staging, the festival did have some luxury performers (hermetically amplified by order of such a busy 'regia') led by Ana Quintals and Dani Espasa and his orchestra Vespres d'Arnadí, in their triumphant return to the festival.
ABC (23.07.22) · Pep Gorgori
Musically, in addition to Sabata's own skill - a beautiful 'Music for a while' - there are two Catalan groups, Vespres d'Arnadí and O vos omnes, under the direction of Dani Espasa and Xavier Pastrana respectively. Espasa excels in conducting a proposal that - it must be admitted - gives preponderance to the stage to the detriment of the sound aspect, often diverting attention to areas unrelated to the score. In any case, local talent getting their hands on Purcell without any complexes - this is something to be celebrated in style!
Ara (23.07.22) · Marta Porter
(...) the wonderful interpretation by Vespres d'Arnadí, led by Dani Espasa, who found the right tension in each passage, and the choir O Vos Omnes, transfigured into operatic characters, provided moments of great musical beauty.
La Traviata · Teatro de la Maestranza (Seville)
El Correo de Andalucía (23.07.22) · Juan José Roldán
We also take this opportunity to highlight the work of the young Cuban-Puerto Rican soprano Megan Barrera, whose first prize in the 2018 Certamen Nuevas Voces de Sevilla allowed her to be part of this cast, demonstrating with her brief appearances that she possesses a beautiful voice, with plenty of body and precision.
We also take this opportunity to highlight the work of the young Cuban-Puerto Rican soprano Megan Barrera, whose first prize in the 2018 Certamen Nuevas Voces de Sevilla allowed her to be part of this cast, demonstrating with her brief appearances that she possesses a beautiful voice, with plenty of body and precision.
Capriccio · Festival de Granada
La Vanguardia (28.06.22) · Maricel Chavarría
(...) Then, walking at a steady pace, we arrive in time for the recital of the Alaskan soprano Vivica Genaux who, accompanied by guitar, explores the art of vocal variation with finesse. The ecstasy in the courtyard of the Arrayanes is total.
Ópera Actual (28.06.22) · Alejandro Fernández
(...) Both artists presented a repertoire of arias, Lieder and songs grouped in four distinct blocks with their own personality and organic sense that did not skimp on the technical - the programme included a whole range of agilities, scales, colouraturas - at the service of this recital prone to the intimacy between performers and listeners and to the essences distilled by the selected authors, a retrospective which, far from the motley, ran through almost photographic moments of the repertoire which placed the voice of a dazzling Vivica Genaux at the centre. (...)
The vocal proposal was inclined to highlight the textual value and Genaux, with the attentive complicity of Pinardi's studied guitar, would make of these Lieder a succession of interpretative moments of the first order where the lines and octave leaps would form part of a very outstanding approach, especially in the proposals of Hensel and Duparc. (...) Genaux stood out for the care of the diction which, although it could have a somewhat accessory character, makes the difference as she is an interpreter of exceptional virtuosity.
Granada Hoy (27.06.22) · Gonzalo Roldán Herencia
(...) the mezzo-soprano Vivica Genaux displayed her beautiful voice, full of colours and nuances, powerful in the bass and light in the virtuosic coloraturas in the treble. She was accompanied at all times on the baroque guitar by Gigi Pinardi, a great virtuoso who lent his art to develop the indispensable accompaniment to the voice. (...) As with Paisiello's song, the singer demonstrated her mastery of ornamentation and late-baroque phrasing, lending a freshness and a folkloric touch very appropriate for this repertoire of Venetian songs. (...) Three rich recreations of a delicious melody, with surprising modulations and expressive elements that Vivica Genaux and Gigi Pinardi took advantage of to conclude their programme with the best bel canto lyricism. (...) A singular evening that will remain in the memory as one of the most suggestive and original repertoires that the Patio de los Arrayanes has witnessed since that mythical evening with Teresa Berganza.
(...) Then, walking at a steady pace, we arrive in time for the recital of the Alaskan soprano Vivica Genaux who, accompanied by guitar, explores the art of vocal variation with finesse. The ecstasy in the courtyard of the Arrayanes is total.
Ópera Actual (28.06.22) · Alejandro Fernández
(...) Both artists presented a repertoire of arias, Lieder and songs grouped in four distinct blocks with their own personality and organic sense that did not skimp on the technical - the programme included a whole range of agilities, scales, colouraturas - at the service of this recital prone to the intimacy between performers and listeners and to the essences distilled by the selected authors, a retrospective which, far from the motley, ran through almost photographic moments of the repertoire which placed the voice of a dazzling Vivica Genaux at the centre. (...)
The vocal proposal was inclined to highlight the textual value and Genaux, with the attentive complicity of Pinardi's studied guitar, would make of these Lieder a succession of interpretative moments of the first order where the lines and octave leaps would form part of a very outstanding approach, especially in the proposals of Hensel and Duparc. (...) Genaux stood out for the care of the diction which, although it could have a somewhat accessory character, makes the difference as she is an interpreter of exceptional virtuosity.
Granada Hoy (27.06.22) · Gonzalo Roldán Herencia
(...) the mezzo-soprano Vivica Genaux displayed her beautiful voice, full of colours and nuances, powerful in the bass and light in the virtuosic coloraturas in the treble. She was accompanied at all times on the baroque guitar by Gigi Pinardi, a great virtuoso who lent his art to develop the indispensable accompaniment to the voice. (...) As with Paisiello's song, the singer demonstrated her mastery of ornamentation and late-baroque phrasing, lending a freshness and a folkloric touch very appropriate for this repertoire of Venetian songs. (...) Three rich recreations of a delicious melody, with surprising modulations and expressive elements that Vivica Genaux and Gigi Pinardi took advantage of to conclude their programme with the best bel canto lyricism. (...) A singular evening that will remain in the memory as one of the most suggestive and original repertoires that the Patio de los Arrayanes has witnessed since that mythical evening with Teresa Berganza.
Salome · Auditorio Nacional de Música (Madrid)
Platea Magazine (30.06.22) · Alejandro Martínez
The ONE was kind enough to round off the line-up with a large cast of Spanish voices, starting with Alejandro del Cerro's intoned Narraboth.
Ópera World (29.06.22) · Federico Figueroa
(...) Leading them, both for the level of his character and for his stupendous interpretation, was the tenor Alejandro del Cerro, who gave a Narraboth with a well-projected voice and Argentinian timbre.
Codalario (28.06.22) · Raúl Chamorro Mena
The tenor Alejandro del Cerro, always committed and feisty, is outstanding in the role of the young Syrian captain of the guard Narraboth, who begins the opera with his beautiful line 'Wie Schön ist die prinzessin Salome heute nacht' - 'How beautiful looks the princess Salome tonight'.
Beckmesser (28.06.22) · Arturo Reverter
Del Cerro sang well, with propriety and warmth, with his well-honed high treble, Narraboth.
Ópera Actual (27.06.22) · José María Marco
Alejandro del Cerro sang a phenomenal Narraboth, at once serious and luminous, as befits this young soldier tormented by a desire he does not understand.
The ONE was kind enough to round off the line-up with a large cast of Spanish voices, starting with Alejandro del Cerro's intoned Narraboth.
Ópera World (29.06.22) · Federico Figueroa
(...) Leading them, both for the level of his character and for his stupendous interpretation, was the tenor Alejandro del Cerro, who gave a Narraboth with a well-projected voice and Argentinian timbre.
Codalario (28.06.22) · Raúl Chamorro Mena
The tenor Alejandro del Cerro, always committed and feisty, is outstanding in the role of the young Syrian captain of the guard Narraboth, who begins the opera with his beautiful line 'Wie Schön ist die prinzessin Salome heute nacht' - 'How beautiful looks the princess Salome tonight'.
Beckmesser (28.06.22) · Arturo Reverter
Del Cerro sang well, with propriety and warmth, with his well-honed high treble, Narraboth.
Ópera Actual (27.06.22) · José María Marco
Alejandro del Cerro sang a phenomenal Narraboth, at once serious and luminous, as befits this young soldier tormented by a desire he does not understand.
Il trionfo del Tempo e del Disinganno · Festival de Granada
Ópera Actual (27.06.22) · Alejandro Fernández
Genaux, who did double duty at the Festival with a solo recital in the Patio de los Arrayanes on Sunday 26th, struck the right note, well supported and radiant, portraying the complex character of el Placer with a succession of artistic moments exemplified in arias such as 'Lascia la spina' in which the communion between singer and ensemble demonstrated a reading of the oratorio seriously grounded in a historically informed interpretation.
Codalario (27.06.22) · José Antonio Cantón
(...) The famous Alaskan mezzo-soprano Vivica Genaux immediately intervened in a short and shared recitative, 'Io che sono il Piacere', which was enough to appreciate the brassy warmth of her tessitura (...) which was followed by the always awaited, because of its exquisite inspiration, Lascia la spina, an aria in which we could enjoy Vivica Genaux's very singular version, which she offered exquisitely with a subjugating expression of longing meditation.
Granada Hoy (25.06.22) · Pablo J. Vayón
Possibly, and a priori, the big star of the evening was the Alaskan mezzo Vivica Genaux, who began with that characteristic vibrato of her voice a little uncontrolled, perhaps wanting to boost the somewhat flimsy string at the start, but when she became warmer ('Un leggiadro giovinetto', with a very seductive Poncet on the organ, can be considered a turning point), the Genaux of so many unforgettable evenings was there again, capable of combining the virtuosity of that staccato articulation which allows her to clearly separate each note, even in the most convoluted passage, with the most intense expression. She demonstrated this most especially in her farewell aria, 'Come nembo', which Handel would shortly afterwards use almost identically for his Agrippina.
Genaux, who did double duty at the Festival with a solo recital in the Patio de los Arrayanes on Sunday 26th, struck the right note, well supported and radiant, portraying the complex character of el Placer with a succession of artistic moments exemplified in arias such as 'Lascia la spina' in which the communion between singer and ensemble demonstrated a reading of the oratorio seriously grounded in a historically informed interpretation.
Codalario (27.06.22) · José Antonio Cantón
(...) The famous Alaskan mezzo-soprano Vivica Genaux immediately intervened in a short and shared recitative, 'Io che sono il Piacere', which was enough to appreciate the brassy warmth of her tessitura (...) which was followed by the always awaited, because of its exquisite inspiration, Lascia la spina, an aria in which we could enjoy Vivica Genaux's very singular version, which she offered exquisitely with a subjugating expression of longing meditation.
Granada Hoy (25.06.22) · Pablo J. Vayón
Possibly, and a priori, the big star of the evening was the Alaskan mezzo Vivica Genaux, who began with that characteristic vibrato of her voice a little uncontrolled, perhaps wanting to boost the somewhat flimsy string at the start, but when she became warmer ('Un leggiadro giovinetto', with a very seductive Poncet on the organ, can be considered a turning point), the Genaux of so many unforgettable evenings was there again, capable of combining the virtuosity of that staccato articulation which allows her to clearly separate each note, even in the most convoluted passage, with the most intense expression. She demonstrated this most especially in her farewell aria, 'Come nembo', which Handel would shortly afterwards use almost identically for his Agrippina.
Dialogues des Carmélites · Teatro Villamarta (Jerez)
Mundo Clásico (05.07.22) · José Amador Morales
Nicola Beller Carbone also gave a Madame de Croissy of great expressive depth, as is usual for this fantastic singer-actress, who this season has also given us an unforgettable creation of Poulenc's other work, La voix humaine, in Córdoba, Seville and Bilbao. On this occasion, her medium-bass register, gloomy and opaque, allowed her to chisel out an agony and death of great impact.
Codalario (29.06.22) · José Antonio Cantón
Continuing with outstanding performances, we must mention the shocking interpretation of the agony of the prioress, mother Henriette de Jesús, a role awarded to the German soprano Nicola Beller Carbone, who reached the highest degree of heartbreaking drama of the entire function, expressing the maximum desperation in her agony, a moment in which music and words were implemented at a very high aesthetic level.
Scherzo (27.06.22) · Arturo Reverter
The vocal cast was uneven. We would put above, with excellent marks, Nicole Beller-Carbone's elderly Prioress, expressive, lacerating, anguished, who marked the required contrasts with tact and maintained a well-controlled delivery of her consistent, well-supported soprano voice. Intonation and chiaroscuro of a high level. She was well balanced in the death scene and had a wonderful collaboration from the pit in this case.
Ópera Actual (27.06.22) · Jesús Sánchez-Ferragut
Nicola Beller Carbone was very well cast in the role of the Prioress of the Convent.
Beckmesser (27.06.22) · Andrés Moreno Mengíbar
Beller Carbone, as first prioress, brought to the character all the dramatic charge she knows how to manage, without histrionisms, making her voice and phrasing convey all the weight of that moment in which she faces death, immersed in doubts about what will come next.
La Voz del Sur (25.06.22) · Joaquín Piñeiro Blanca
Nicola Beller-Carbone is a multi-faceted artist, as she is not only a singer, but also a dancer, instrumentalist and actress, which makes her performances particularly rich, as is the case with her construction of the character of Madame de Croissy. She particularly excelled in the impressive and demanding moment of her agony at the end of the first act, one of the most emotionally charged pages of the work. It was to be expected that the singer did not miss this scene in her relatively brief but intense role.
Diario de Jerez (25.06.22) · Jesús Sánchez-Ferragut
(...) Nicola Beller in the first act, who embodied the role of Prioress of the Convent, came together in a wonderful and difficult role.
Nicola Beller Carbone also gave a Madame de Croissy of great expressive depth, as is usual for this fantastic singer-actress, who this season has also given us an unforgettable creation of Poulenc's other work, La voix humaine, in Córdoba, Seville and Bilbao. On this occasion, her medium-bass register, gloomy and opaque, allowed her to chisel out an agony and death of great impact.
Codalario (29.06.22) · José Antonio Cantón
Continuing with outstanding performances, we must mention the shocking interpretation of the agony of the prioress, mother Henriette de Jesús, a role awarded to the German soprano Nicola Beller Carbone, who reached the highest degree of heartbreaking drama of the entire function, expressing the maximum desperation in her agony, a moment in which music and words were implemented at a very high aesthetic level.
Scherzo (27.06.22) · Arturo Reverter
The vocal cast was uneven. We would put above, with excellent marks, Nicole Beller-Carbone's elderly Prioress, expressive, lacerating, anguished, who marked the required contrasts with tact and maintained a well-controlled delivery of her consistent, well-supported soprano voice. Intonation and chiaroscuro of a high level. She was well balanced in the death scene and had a wonderful collaboration from the pit in this case.
Ópera Actual (27.06.22) · Jesús Sánchez-Ferragut
Nicola Beller Carbone was very well cast in the role of the Prioress of the Convent.
Beckmesser (27.06.22) · Andrés Moreno Mengíbar
Beller Carbone, as first prioress, brought to the character all the dramatic charge she knows how to manage, without histrionisms, making her voice and phrasing convey all the weight of that moment in which she faces death, immersed in doubts about what will come next.
La Voz del Sur (25.06.22) · Joaquín Piñeiro Blanca
Nicola Beller-Carbone is a multi-faceted artist, as she is not only a singer, but also a dancer, instrumentalist and actress, which makes her performances particularly rich, as is the case with her construction of the character of Madame de Croissy. She particularly excelled in the impressive and demanding moment of her agony at the end of the first act, one of the most emotionally charged pages of the work. It was to be expected that the singer did not miss this scene in her relatively brief but intense role.
Diario de Jerez (25.06.22) · Jesús Sánchez-Ferragut
(...) Nicola Beller in the first act, who embodied the role of Prioress of the Convent, came together in a wonderful and difficult role.
Die Zauberflöte · Gran Teatre del Liceu (Barcelona)
Doce notas (08.07.22) · Ovidi de Cardona
The trio formed by the three ladies Berna Perles, Gema Coma-Alabert and Marta Infante were a luxury for the stage and for the ear.
Platea Magazine (05.07.22) · Gonzalo Lahoz
The three ladies of Berna Perles, Gemma Coma-Alabert and Marta Infante are superb, with well-differentiated tessitura voices, a joy as a "three-dimensional" character.
En Platea (27.06.22) · Norman Marsà
And some wonderful Ladies of the Queen of the Night, played by Berna Perles, Gemma Coma-Alabert and Marta Infante, who gave a very correct and remarkable performance under a role they knew how to play very well.
El Punt Avui (25.06.22) · Oriol Pérez Treviño
We only had to listen to the stellar appearance of the Trio de Dames (Berna Perles, Gemma Coma-Alabert and Marta Infante) to enjoy admirable homogeneity and vocal spontaneity, accompanied by an intrinsic polyphonic sense.
Ópera World (25.06.22) · Félix de la Fuente
The three ladies of Berna Perles, Gemma Coma-Alabert and Marta Infante were splendid.
ABC (22.06.22) · Pep Gorgori
The three ladies were also nationals: the excellent Malaga soprano Berna Perles and two of the best mezzos we have, Gemma Coma-Alabert and Marta Infante, who deserve to appear at the Liceo and the Real much more often and in roles of greater responsibility which, it is clear to see, they are in perfect condition to tackle.
Ritmo (22.06.22) · Juan Carlos Moreno
The Three Ladies, played by Berna Perles, Gemma Coma-Alabert and Marta Infante, were convincing, also in terms of stage movement, because in this staging their role is certainly unsettling.
Platea Magazine (22.06.22) · Alejandro Martínez
Finally, the trio of ladies Berna Perles, Gemma Coma-Alabert and Marta Infante were impeccable, all of them very careful with the German text and absolutely committed to their stage work.
Ara (22.06.22) · Jaume Radigales
(...) a luxury the three ladies of Berna Perles, Gemma Coma-Alabert and Marta Infante, who are, more than three ladies, three true queens of the scene.
The trio formed by the three ladies Berna Perles, Gema Coma-Alabert and Marta Infante were a luxury for the stage and for the ear.
Platea Magazine (05.07.22) · Gonzalo Lahoz
The three ladies of Berna Perles, Gemma Coma-Alabert and Marta Infante are superb, with well-differentiated tessitura voices, a joy as a "three-dimensional" character.
En Platea (27.06.22) · Norman Marsà
And some wonderful Ladies of the Queen of the Night, played by Berna Perles, Gemma Coma-Alabert and Marta Infante, who gave a very correct and remarkable performance under a role they knew how to play very well.
El Punt Avui (25.06.22) · Oriol Pérez Treviño
We only had to listen to the stellar appearance of the Trio de Dames (Berna Perles, Gemma Coma-Alabert and Marta Infante) to enjoy admirable homogeneity and vocal spontaneity, accompanied by an intrinsic polyphonic sense.
Ópera World (25.06.22) · Félix de la Fuente
The three ladies of Berna Perles, Gemma Coma-Alabert and Marta Infante were splendid.
ABC (22.06.22) · Pep Gorgori
The three ladies were also nationals: the excellent Malaga soprano Berna Perles and two of the best mezzos we have, Gemma Coma-Alabert and Marta Infante, who deserve to appear at the Liceo and the Real much more often and in roles of greater responsibility which, it is clear to see, they are in perfect condition to tackle.
Ritmo (22.06.22) · Juan Carlos Moreno
The Three Ladies, played by Berna Perles, Gemma Coma-Alabert and Marta Infante, were convincing, also in terms of stage movement, because in this staging their role is certainly unsettling.
Platea Magazine (22.06.22) · Alejandro Martínez
Finally, the trio of ladies Berna Perles, Gemma Coma-Alabert and Marta Infante were impeccable, all of them very careful with the German text and absolutely committed to their stage work.
Ara (22.06.22) · Jaume Radigales
(...) a luxury the three ladies of Berna Perles, Gemma Coma-Alabert and Marta Infante, who are, more than three ladies, three true queens of the scene.