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Dmitry Korchak, a tenor with a future

All the comments I read about Eugene Onegin the Palau de les Arts agreed to emphasize the excellent work of the young Russian tenor Dmitry Korchak as Lenski. Indeed, in a cast that no one stands out for good or for ill, Korchak is the only one who gets beyond the barrier that separates the mechanical interpretation of the score of art that conveys real feelings, and does so using the game controllers and dynamic, with a beautiful pianissimo in the second stanza of his aria Kuda, kuda causing the public's admiration for each function.

The first time you hear Dmitri Korchak was not live, but on a DVD released in 2007, a recording of an opera that remained unused but is highly recommended: dissoluto punito Il, ossia Don Giovanni Tenorio of Ramón Carnicer. If I bought the DVD was curiosity that caused me listen to this title, not the cast, and he barely knew one or two names (except the director, the great Alberto Zedda) and I do not say much, but the truth is that I was very happy with the result and especially the performance of Korchak, who plays Don Giovanni. We will see sporting muscles in an aria of this recording.

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From what I have learned, Korchak has been singing since at least 2002, when he recorded his first DVD, precisely Eugene Onegin, with the theater company Novaya Opera in Moscow. Its international release, without however, comes in 2004 when he wins the Francisco Vinas competition and awarded two prizes in Operalia. After

him as Don Giovanni, Korchak met again, this time live, when his name appeared in the lineup of L'Arbore di Diana of Martín y Soler , the opera premiered at the room 2008, the Palau de les Arts that bears the name of Valencian composer. Korchak was very good, stand out above the other male roles, but in this opera is women who really have the upper hand. Listen to him in one of these functions Valencia.

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So far, his career has been based primarily on the bel canto of Rossini, Bellini and Donizetti and Mozart, while the emergence of roles as Massenet's Werther or Alfred Verdi's La Traviata, and listening to his recent Lenski and the finding of widening taking place in your voice, that portends the future is slowly becoming more and more to own a tenor and less of a lightweight. According to its website, now have these roles in the repertoire (excluding masses, oratorios and other): V. Bellini

- La Sonnambula (Elvino)
V. Bellini - I Puritani (Arturo)
G. Bizet - Les Pêcheurs de perles (nadir)
Carnicer R. - Il dissoluto punito (Don Giovanni)
G. Donizetti - L'Elisir d'amore (Nemorino)
G. Donizetti - Don pasqualle ( Ernesto)
G. Donizetti - Dom Sebastien (Dom Sebastien)
G. Donizetti - La Fille du Regiment (Tonio)
G. Donizetti - La Favorita (Fernando)
J. Ibert - Persee et Andromede (Persee)
Jomelli N. - Demofoonte (Demofoonte)
F. Lehar - The Luestige Widow (Camille de Rossilion)
Martin y Soler V. - L'Arbore di Diana (Endimeone)
J. Massenet - Werther (Werther)
Mozart W.-A. – Die Entführung aus dem Seral (Belmonte)
Mozart W.-A. – Cosi fan tutte (Ferrando)
Mozart W.-A. – Die Zauberflöte (Tamino)
Mozart W.-A. – Don Giovanni (Don Ottavio)
Musorgski M. – Boris Godunov (Jurodivy)
Ravel M. – L’Enfant et les sortileges (Thierry, Rainette)
Ricci F.– Corrado d’Altamura (Roggero)
Rimski-Korsakov N.A. – The Snow Maiden (Tsar Berendey)
Rimski-Korsakov N.A. – Mozart & Salieri (Mozart)
Rossini G. – La Gazza Ladra (Gianetto)
Rossini G. – L'equivoco Stravagante (Ermano)
Rossini G. – Il barbiere di Siviglia (Il Conte Almaviva)
G. Rossini - Il viaggio a Reims (Lebenshof)
R. Straus - Der Rosenkavalier (Italian tenor)
P. Tchaikovsky - Evgeny Onegin (Lensky)
G. Verdi - La Traviata (Alfred)
G. Verdi - Falstaff (Fenton)

As good and good Rossini bel canto has been a regular at the festival in Pesaro. Let's hear singing the aria Vieni fra queste braccia opera La gazza barks at the festival in 2008.

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And now singing, appropriately, the Russian anthem Il viaggio a Reims in 2009 at La Scala in Milan with the famous staging of Luca Ronconi .

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But Rossini's not just man lives, end up listening to a concert just three months ago in which she sang rapita my fu ... Parmi Veder Lagrime him, the difficult aria from the Duke of Mantua in Rigoletto .

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Yevgeny Onegin at Les Arts

Yesterday was the premiere of the opera Yevgeny Onegin of Piotr Tchaikovsky in the Palau de les Arts. Due to the short time I have lately had been unable to find anything to worry about the performers, all new to me, including the new chief conductor of the orchestra of Les Arts, Meir Omer Wellber and tenor Dmitry Korchak excluding, whom who knew and expected a good performance.

Let's start with the work of Meir Omer Wellber the front of the orchestra. After considerable success with Aida, something I could not verify because the only function I attended was led by Lorin Maazel, Wellber faced one of the crowning achievements of Russian repertoire, they say, is a specialty. The first thing I noticed, confirming what many commented after Aida, is that your gestualización is excessive. I guess because the orchestra responds passing this thread and thus losing the ability to qualify properly. Still, we must recognize that its direction never fell into neglect and the sound of the orchestra was as beautiful as it used to be, with those bungee cords and such metals as accurate. Also, the choir was so good as usual. On the negative side, sometimes you descuadrados Wellber voices and the orchestra slightly and, above all, the great Polish finished third act turned into a hodgepodge report in which each section orchestra seemed to go free. I think these details can go negative in the upcoming features puliéndose and Wellber, a promising director, may evolve into better as you master the gestures and the orchestra gets used to its peculiarities.

In the voices, dominated by a correction that does not go beyond what is minimally acceptable, stressed male roles over the feminine. Artur Rucinski played the lead with an excess of coldness in the acting and singing monotonous shooting him, but his voice is as beautiful and powerful, and this enabled him to get away with. Better Dmitry Korchak was as Lenski, exceeding my expectations with a Kuda, kuda loaded sung with expressiveness and elegance, displaying a rich palette of shades. The public also liked Prince of Gremin Groissböck Günther, a bass with a beautiful voice and a good bass. The only male singer that seemed to be right below was Emilio Sanchez, a poor Triquet which certainly did not help anything excessive ridicule to which he subjected the staging.

In women, no more correct Lena Belkina as Olga, Margarita Nekrasova as Filíppievna, Helene Schneiderman as Larina and, unfortunately, also Mataeva as Tatiana Irina. In the case of the first three, the brevity of their roles makes the correction is simple enough, but the role of Tatiana requires more than simply take notes and that something else was what was missing yesterday. He did nothing wrong, of course, stay in tune and was covered by the orchestra, not invented notes or avoided the more committed now, but his singing is not sent me everything I hope that I convey a Tatiana.

And finally, the staging by Mariusz Trelinski , from the Teatr Wielki (Opera Narodowa) in Warsaw. In the first act was clear that his intention was the same as in Madama Butterfly of last season: that the scene reflects not so much places but states of mind or feelings pertaining to the psychology of the characters, and this is achieved by Sudden changes in lighting color, shadow play and the presence of recurrent scenic elements like trees or apples that appear in the first act and come back, rolling on the stage at the end of the opera. Well, what in Madama Butterfly worked perfectly, yesterday I choked for several reasons. First, the use of a character played by a mime who does the role of alter ego of Onegin, whose presence ends up being tiresome and unnecessary stress as merely platitudes which are already well defined by the music of Tchaikovsky. If we add that Trelinski, probably unaware of the English culture, makes him walk like a Chiquito de la Calzada, the end result is negative. Another reason for the fiasco is the lack of coherence of the proposal as a minimalist and elegant first act is followed by a scene of Larina's house party with an appeal to the ugliness (those green lamps, the purple background) which comes to the ridiculous when it appears Triquet become a kind of Pumuky wearing a pink frock and accompanied by three cherubs in a thong and a giant pink bulb species from which a dancer. Of course, the scene of Triquet is a tacky, but if Tchaikovsky was able to capture the character's tacky without ridicule, would not it be wiser to try to do the same? After that, he returned minimalism in an elegant and understated scene of mourning for depues fall back into the ugly and exaggerated in the third act. The party at the home of Prince Gremin opens with a kind of parade of the undead to the rhythm of the polonaise, which does not seem more appropriate and certainly is not. The atmosphere also gets it done: checkerboard floor littered with red lights, a big red arrow desdendente upstage and Tatiana turned into a kind of femme fatale who does not hit either the character or poor Mataeva Irina, who did what could. And finally, something I did not like was the placement of a walkway in front of the orchestra pit in which they place some of the scenes of more tension, as the discussion between Lenski and Onegin or the final duet. And is that beyond the aesthetic that might be closer to the public performers, singers need a stage box for your voice to be projected properly around the room and it is increasingly common for managers Scene not take this into account, making them sing from positions that do not favor them.

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Renata Tebaldi, an unusual Tatiana

premiere is coming Eugene Onegin at the Palau de les Arts and to prepare we will hear the famous letter scene masterfully performed by Renata Tebaldi . Not a soprano Tebaldi is usually identified with the role of Tatiana, but the truth is that he included in his repertoire and sang, always in Italian, in a few roles at La Scala, earning a deserved success, judging by what heard in these videos. Unfortunately, no recordings of these performances Scaligera, but this scene is preserved to the letter, part of a gala held at the Chicago Opera in 1956 in which participated along with Renata Tebaldi, Giulietta Simionato and Ettore Bastianini, led by Georg Solti.

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countertenors Dueling: Ombra Lyrics

Among the new releases of the past year 2010 there were two discs with many things in common Mezzo-soprano arias Handel of Max Emanuel Cencic and face Ombra of Bejun Mehta. Both artists are two countertenors new wave, both with admirable technique, and both discs are fully dedicated to compositions by Handel . To make matters worse, both have the excellent support of managers and specialists in the portfolio groupings: Diego Fasolis with I Barocchisti in the case of Cencic, with René Jacobs Freiburger Barockorchester to Mehta. And to take similar positions, both children were featured countertenor-sopranos, as we see in these videos in which both sing pieces by Handel:

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Cencic disc plays on the controversy from its very title, as it seems to indicate Croatian countertenor has appropriated some parts that Handel composed to be sung by women and not transvestite castrati. Only four of the twelve pieces on the disc, but served to give publicity that came not too bad and that some of you are tearing their clothes. Leaving aside the story, is a highly recommended album that highlights Cencic especially in the difficult passages of agility, with enormous technical expertise. We can see in this video where we see the recording of one of the arias included in the album, Lunga alti d'eroi series, extracted from the cantata Parnasso in festa.

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Launching Ombra face has not been as controversial and therefore has not received much publicity, but the product deserves. In his first recital as a countertenor (recorded one as a boy soprano), Mehta is tightened in the choice of repertoire arias composed for the famous castrato Francesco Bernardi, Senesino , but actually appear a few arias that were written for castrati other, as we will hear then. Mehta also has a strong technique that allows you to tackle the most demanding parts (watch for the long messa di voce the word "love" in the video) but it is also a very smart performer who knows how to get the best out of each aria , deeper psychologically and demonstrating a serious record that not all can boast countertenors. Let's watch a video, also belonging to the recording of the album, which sings the aria Sento gioia, Opera di Gaula Amadigi .

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And now, direct confrontation: Only one of the arias chosen by Cencic and Mehta for their respective match records. This is the sorry face Ombra di mia sposa , opera Radamisto . We will listen to both versions and that each stay with the one you prefer. MAX EMANUEL

Cencic:
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Bejun Mehta:

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face chained XV: 2011 Happy

changed this year but not play. Become chained songs, this time with the theme of William Shakespeare and his work, especially Romeo and Juliet as Lou Reed cited a verse of this work in the song Legendary Hearts, with which we closed the latest edition. Kalamar

batch of songs opens with Shakespearean Romeo and Juliet , of \u200b\u200bDire Straits .


davidebruno99 Video Xim

choose Midnight Summer Dream of The Stranglers .

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Allau Macbeth chooses to John Cale, who will hear on a recent live performance.

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Atticus brings the fantastic and lengthy Stuck Inside of Mobile with the Memphis Blues Again of Bob Dylan, but as the lords of Sony are dedicated to delete all youtube videos with songs of Dylan, the closest thing we see is the beginning of the film I'm Not There, Todd Haynes, who uses it as a soundtrack.

Alfredo chooses the voice of Placido Domingo singing In Pace, Patrick Doyle, the soundtrack temaperteneciente Hamlet, Kenneth Branagh's film.

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Barbebleue classic puts us and brings us Piero Cappuccilli singing Iago's monologue, part of the opera Verdi Otello, directed this time by Carlos Kleiber.

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Joaquim choose Brush up your Shakespeare, the musical Kiss Me Kate of Cole Porter, performed by Lee Wilkof and Michael Mulheres , led by Paul Gemignani.


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As West Side Story by Leonard Bernstein is a modernization of Romeo and Juliet Shakespearean Teresa chooses the famous song America.

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Pilar proposes a Ciniko issue, hip-hop or rap, I do not know what is the difference between the two styles or are synonyms. The song is Romeo and Juliet SXXI .


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Having ruled out a couple of pieces, José Luis just choosing To Be Or Not To Be , successfully performed by the Bee Gees at a time when they were all toupee and teeth.

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Maacah says that does not support Romeo and Juliet Karina of , but even so choose. As well, it's worth, here it is.

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Gloria brings to Nureyev dancing Romeo and Juliet by Prokofiev video in 1966.

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Baltolkien joins the game of songs strung with Whatever (I had a dream last night) Butthole Surfers of , taken from the OST Romeo & Juliet of Baz Luhrmann.

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PsychoChick1994

only me and I apologize for bringing back the same singer who chose to issue previous Lou Reed, but if I think of Romeo and Juliet first thing that comes to mind is Romeo Had Juliette , the song that opens the album essential New York, in my opinion the last masterpiece of his career. Could have opted for Elvis Costello and the Brodsky Quartet with Juliet Letters, or the catchy Nick Lowe Cruel To Be Kind (a quote from Hamlet), or Tom Waits Romeo Was Bleeding , but any of them would have been a false choice, so will the sincerity in front of the variety and hear this wonder.

vivemaker
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And since this song from the album New York, for sighuiente issue we find songs associated with this city. I await your proposals.