![]() ![]() Richard Anderson brought humanity and a noble disdain for the worldly to the philosopher Colline's persona and to his Act IV "Coat" aria, while Shane Lowrencev brought high-camp nerviness and quicksilver energy to the musician Schaunard. Their Act III scene in the snow at the city gates, when Mimi really ought to have been home in bed, was comparably effective although conductor Carlo Montanaro, whose speeds in Act I had been quick, had a tendency to exaggerate the expressive easing of tempo at times.įrom the point of view of artistic control, Taryn Fiebig as Musetta sang with the greatest musical insight, bringing out the character's complexity with meretricious outrageousness blossoming alongside a yearning for goodness.Īs the painter Marcello, her lover, Christopher Tonkin had such textured vocal firmness and tonal flexibility that the duets with him and Rodolfo had some of the naturalness of young men just getting together and singing a few operatic duets, as one does. Against her, Ji-Min Park's Rodolfo had youthful freshness in the sound and the ability to position climactic phrases such as that leading to the high C in Che gelida manina in Act I so that they bloomed with radiant clarity. Mariangela Sicilia sang Mimi with an adroitly controlled and flexibly coloured voice, bringing sweetness and variety to the love confession of the first act.
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