Natalie Dessay, Becoming Violetta - The New York Times.
On 2 March 2009, Dessay sang the title role in La sonnambula at the New York Metropolitan Opera. It was the first new production of the opera at the Met since Joan Sutherland sang the title role in 1963. She gave her first performance in the role of Violetta in La traviata at Santa Fe Opera on 3 July 2009 in a production by Laurent Pelly.
Natalie Dessay made her first European appearances as Violetta in Verdi's La Traviata in a new production by the French director Jean-Francois Sivadier at the 2011 Aix-en-Provence Festival. This DVD captures her intense performance in the company of American tenor Charles Castronovo as Alfredo and French baritone Ludovic Tezier as his father.
Her theatrical impact is devastating, wrote the Financial Times. With this new production of La traviata at the 2011 Aix-en-Provence Festival, Natalie Dessay made her first European appearances as Verdis Violetta, a pinnacle of the soprano repertoire. She made her debut in the role in 2009 at the Santa Fe Festival in the US, and subsequently.
This article will be for reviews of La Traviata on DVD and blu-ray. Another one for CDs will be created. We'll publish the reviews here as they get written by our staff and members.----- This full review was written by Almaviva: La Traviata, opera in three acts (1853), music by Giuseppe Verdi, libretto by Francesco Maria Piave.
I read a glowing review of this documentary about a production of La Traviata in Opera News and bought the DVD mostly to find out why so much fuss is made over Natalie Dessay, the French soprano. Well now I know. I subsequently bought and watched the DVD of the Opera production that is being rehearsed in the documentary and was moved by La.
Music Review 'Becoming Traviata': A Look At Opera From Behind The Curtain. June 04, 2013. Tom Huizenga. And that's important, as this was Dessay's first time singing Traviata in Europe. She.
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Venera Gimadieva was the Queen of Navarre, a somewhat silly character who tries to bring peace between the two religious sects. It is a classic coloratura soprano role, and Gimadieva dazzled with the agility of her voice and her ease on the high notes.
In summer 2011, the Aix-en-Provence Festival brought Dessay in a new production of La traviata. Natalie Dessay signed her first exclusive contract with EMI Classics in 1994 and, in addition to the recordings already mentioned, her catalogue includes discs of Mozart (a collection of arias and his Mass in C minor), songs and arias by Strauss.
This performance from Lille is directed by Jean-Francois Sivadier, whose Aix-en-Provence production of La traviata starring Natalie Dessay (also on Virgin) caused quite a stir. Though not as radical, Sivadier works with the same idea. The look and feel are almost haphazard: at the start we are back stage, with people milling about seemingly.
This article explores how food and drink in opera convey meaning, define relationships, trigger psychophysical reactions, and denote dramatis and singers’ personae. It proposes a basic theoretical foundation of “operatic gastromusicology” by outlining five primary functions of food in opera: social, intimate, denotative, medicinal, and dietary.
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