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He has the same kind of 'back of the throat' vocal production as Rolando Villazon's, which favours a startlingly dark colouring of the middle range - but although Rolando's vocal production is still unmistakably tenorish, Jonas' is almost baritonal.Ĭase in point: this Youtube extract of the immortal Pourquoi me réveiller from Werther:Īlthough this gives the illusion of vocal weigth, it is no substitute for the real thing and it tends to cloud the high notes and deprive them of real projection and 'ring'. Kaufman would certainly be a prime candidate for a great modern recording of the work.
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This is a whale of a role that many lyric tenors have broken their front teeth on. He is the tenor Kaufman reminds me most of (in that role at least). The mise en scène was really formidable and unfortunately I wasn't able from my position in the orchestre to listen in the best conditions the excellent playing of the Orchestre Symphonique de Navarre.Īt the end there was a most moving ovation from all the theatre, that stood up for clapping the wonderful production.Ĭonclusion: if somebody from GMG, by any reason, would be around Paris on May 28th or 31st, I would very seriously advice not to miss this spectacle. Luckily I didn't close my eyes, because Roxana was sung by Nathalie Manfrino, whose voice is as marvelous as her physical beauty : her performance was memorable, to the point that in my view she matched Domingo's excellence on the stage. It was the first time I listened to Plácido Domingo directly, and I was really impressed how he has managed to keep his voice young if I had closed my eyes, it would have been perfectly possible that I was listening to a performance of the 1980s. I came back a couple of hours ago from the Théâtre du Châtelet, where I attended Alfano's Cyrano de Bergerac with Plácido Domingo in the title role.