Crouching pianist, hidden baritone

Por Mark Pullinger, 02 noviembre 2016

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“this Italian baritone is truly the real deal”

Crítica hecha desde Wigmore Hall, Londres el 1 noviembre 2016

Tosti, Non t'amo più

Tosti, Chanson de l'adieu

Tosti, A vucchella

Liszt, Rigoletto: Paraphrase de Concert, S 434

Tosti, L'ultima canzone

Tosti, Ideale

Mozart, Don Giovanni, K527: Deh, vieni alla finestra

Donizetti, La Favorita: Vien, Leonora, a' piedi tuoi

Donizetti, Lucia di Lammermoor: Cruda, funesta smania

Liszt, Rapsodia húngara núm. 2 en do sostenido menor, S 244/2

Gounod, Faust: Avant de quitter ces lieux

Verdi, Il trovatore: Il balen del suo sorriso

Verdi, Don Carlo: Per me giunto

Verdi, Don Carlos: Io morro

Verdi, La traviata: Di Provenza il mar

Simone Piazzola, Barítono

Giuseppe Vaccaro, Piano

Don Carlo y las cruces del Teatro Real

David Santana Cañas, 19th September

Monumentalidad y grandes voces encienden la nueva temporada del Teatro Real.

*****

Un decepcionante nuevo Falstaff de Laurent Pelly en el Teatro Real

Fernando Remiro, 25th April

La comedia no llegó a resplandecer en la nueva producción de Falstaff de Laurent Pelly en el Teatro Real.

**111

Barton deslumbra en La Favorite en Madrid

Fernando Remiro, 2nd November

Jamie Barton fue la gran triunfadora de la noche en una descafeinda gala por el 20º aniversario del Teatro Real.

***11

Tudor history, gothic thrills: Roberto Devereux in Bergamo

Mark Pullinger, 15th November

Is Roberto Devereux the finest of Donizetti's four Tudor operas? Stephen Langridge's stylish, stylised production and a wonderful cast under Riccardo Frizza make a great case for it.

****1

De la poudre aux yeux : fragile Traviata à l'Opéra de Liège

Irma Foletti, 21st September

La mise en scène de Thaddeus Strassberger s'efforce d'en mettre plein la vue mais elle ne rend pas justice au drame de Verdi, tandis qu'Irina Lungu déçoit dans le rôle-titre.

**111

COC returns to live performance with beautifully sung Traviata

John Gilks, 23rd April

Young Egyptian-New Zealand soprano Amina Edris makes a great impression in a revival of Arin Arbus’ strong 2015 production.

****1

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Mark Pullinger

Mark has been a Bachtrack editor since 2014. He is also an experienced critic, writing hundreds of reviews for the site, as well as a freelancer writing for other magazines and newspapers. He also writes programme notes and blogs on Substack. Mark has a particular passion for the operas of Verdi as well as Russian and French repertoire. Outside the concert hall and opera house, Mark enjoys cooking and travel and is probably at his happiest let loose in a French patisserie or a Viennese coffee house.

Crouching pianist, hidden baritone: superb Simone Piazzola caught in Liszt ambush