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BEIRUT: At a time when many cultural events have been canceled or postponed due to the ongoing demonstrations, Beirut Chants is determined to persevere and bring the festive spirit to protesters. Founded in 2008, the monthlong December music festival...
After the concert of Rossini’s La Messa di Gloria last night with our fabulous conductor Speranza Scappucci Such a joy to spend a few days in Paris with this lovely group of people! La Seine Musicale Insula orchestra Levy Sekgapane - tenor Mirco Palazzi, bass Eve-Maud Hubeaux - Mezzo Jack Swanson
Jessica Pratt, sopranoHailed by the New York Times as a soprano of "gleaming sound, free and easy high notes, agile coloratura runs and lyrical grace", Jessica Pratt is considered one of today's foremost interpreters of some of Belcanto's most challenging repertoire.After completing her vocal stu...
La Seine Musicale
Messa di Gloria - Rossini
29th Nov. 20:30
Speranza Scappucci, conductor
Jessica Pratt, soprano
Ève-Maud Hubeaux, mezzo-soprano
Levy Sekgapane - tenor, tenor
Jack Swanson, Tenor, tenor
Mirco Palazzi, bass, bass
Studying the new variations for Rossini’s Messa di Gloria here at the @laseinemusicale ...Friday night at the auditorium is my only performance in Paris this season so if you are in the city come along! This is some stunning music and it will be a beautiful concert! #laseinemusicale #messadigloria #gioachinorossini #sacredmusic
Grandes Vozes have created a beautiful project in which they bring a series of international singers over to Rio de Janeiro to give a concert with Orchestra in the stunning Theatro Municipal, while in Brazil they give a masterclass and meet and sing with local children from the comunidades of Rio de Janeiro. 500 of these children are then brought to watch the concert in Theatro Municipal. It is a lovely project. They are fundraising at the moment and only have until Wednesday to reach their goal. So if you could help please donate at the link below:
Sempre libera degg'io - La Traviata - Giuseppe Verdi
(variations by Luisa Tetrazzini on the encore)
Jessica Pratt - Eric Herrero - tenor
Orchestra do Teatro Municipal do Rio de Janeiro
Jessica Pratt is with Ira Levin and Eric Herrero - tenor.
1 – CARLOS GOMES Il Guarany – Abertura
2 – BELLINI Norma: “Casta diva”
3 – VERDI La Traviata: Prelúdio Ato III
4 – VERDI La Traviata: “Ah, fors’è lui”… “Sempre libera”
5 – CARLOS GOMES Lo Schiavo: Alvorada
6 – BELLINI La Sonnambula: “Ah, non credea mirarti” … “Ah non giunge”
7 – ROSSINI: Le siège de Corinthe – Abertura
8 – OFFENBACH Les Contes d’Hoffmann: “Les oiseaux dans la charmille”
9 – BIZET: Adagietto da Suite ‘L’Arlésienne’ no. 1
10 – BELLINI I Puritani: “Qui la voce sua soave” … “Vien diletto, e’ in ciel la luna”
11 – CATALANI La Wally: Prelúdio Ato III
12 – DONIZETTI Lucia di Lammermoor: “Il dolce suono” … “Ardon gli incensi” … “Spargi d’amaro pianto”
Orquestra Sinfônica do Theatro Municipal do Rio de Janeiro
Regência: Ira Levin
NOV 15, sexta - 17h00
Garanta já o seu Ingresso...
Dinner with my hubby and a sneak preview of one of the beautiful pieces I will be wearing tomorrow at our concert here in Rio de Janeiro! A stunning aquamarine ring by Brazilian artist Iara Figueiredo 😍
The BOV Joseph Calleja Foundation, which supports gifted youths and vulnerable children, announced its Christmas concert on Thursday and said it has raised almost €1 million over the past six years. Several scholars have made exceptional progress thanks to its moral and financial support, the...
Got to sing with these cuties today!! 💕We had a chat about my strange job that takes me around the world. How one disappears magically onstage, how to make a loud operatic voice and how even though I can’t break glass I do have a friend with a very low bass voice who can trigger car alarms 😜
In the role of Elvira, Jessica Pratt is astonishing. Stylistically perfect, she masters the role un the tip of her fingers, that rarely touch the stand on which she places no score, while she unfolds the Bellinian pyrotechnics at an infernal speed. With disconcerting ease (and obvious pleasure), she magnificently interprets this young girl.
At this level of achievement, she risks everything and allows herself evocative effects, unbelievable vocalisations and variations and unheard nuances. And when her voice already large, unveils and fills up the big opera hall, the audience grabs on to their seat, faced with this mastery and this rare quintessence of art.
Her belcanto stands on the highest caliber technique but is never limited to it, which in the context of this type of opera is not a given thing. She's able to give flesh to an Elvira that looses her footing more than once, passing rapidly from ecstasy to agony (and viceversa). The conclusion is clear: Jessica Pratt is undoubtedly at the highest levels of the heights of belcanto. Practically a Himalayan.
The surprise of the evening was Jessica Pratt, of a strong vocal temperament, that practically stole the show, with an admirable incarnation of dignity, showcasing to the best the ethereal an almost pathetic side of Elvira. Her organ resounds with joy, drama and madness with a singing line that blossoms magnificently, thanks to it's flexibility, in bright high notes, thrills and exemplar vocalisations.
In the role of Elvira, Jessica Pratt manages to enrich even more the contours of this role that is certainly not limited to a simple pyrotechnical show. She absolutely owns all the needed technical tools and is clearly at ease in the virtuosity and the agilities that she serves: ethereal vocalisations, thrills, fascinating variations, staccato notes, octave jumps or totally mastered mezze-voci. The medium-low registry could be more full, but the singing line imposes herself in distinction and expressivity. She leaves the stand with the score and sings with all her soul, always with a smile even when madness takes her over.
Jessica Pratt, the anglo-australian coloratura soprano, greeted on the greatest stages of the world is Elvira. With simplicity and happiness the warmth of her timbre resounds in projected high notes, round, held, striking or suspended. It's a real treat! But also what musicality, what a well driven intention, what extreme nuances!
To listen to Jessica Pratt in this role is happiness at every note. Her clean but smooth attacchi, the correct breathing, the phrasing and her legato allow every aspect of the character transpire.
Light in the singing in the first act in "Son vergin vezzosa…", moving and emotional in "Vien diletto e in ciel la luna" or sensible in Arturo's "Credeasi misera"; Jessica Pratt sings without a score, floating staccati or notes held on the breath, making fun of the challenges with obvious ease. In a sparkling virtuosity, Jessica Pratt gifted us with a singing lesson but also made us rediscover emotions coming from heavens.
Jessica Pratt confirms, in the role of Elvira, the exceptional qualities of a singing line technically elaborated and supported by a fabulous stage presence. Without score, she twirls from stand to stand, brandishing her attractive smile as razor sharp sword, but she also knows how to bring to tears her public. Powerful in her high notes at the same time striking and harmonious, fluid and intense vocalises: her "Son Vergin Vezzosa" from the first act is all young freshness, then her "O rendetemi la speme; o lasciatemi morir" and her " Vien diletto, in ciel la luna" from the second act where all heartily greeted with ovations.
Sunday morning, the lady got a well deserved triumph together with a cast of great talent. She is totally invested in this romantic role, such that at times, we almost forgot there was no staging. Her voice is precise and powerful and always excels in vocalisations. Her high notes are all at the right place and with great ease she plays with the score.
Jessica Pratt appears to be in breathtaking vocal shape. The timbre is immediately fascinating, the instrument is well expressed along the full length of the voice and it must be said that the high range develops the greatest volume. The vocalises are resolved with great fluidity and the singer proposes, in the repetition of her arias, variations of remarkable musical inspiration. Like in the case of "Son vergin vezzosa" in the first act or the cabaletta "Vien diletto, è in ciel la luna" (act II): staccato high notes or in full voice, strings of pearl-like notes, supersonic cadenzas. In brief, a real singing lesson supported by an engaged interpretation.
Jessica Pratt bewitches the public with the brilliant agilities, with which she's familiar, and seduces with an empathy that allows even the smallest nuance of the mood of her character to transpire, thanks to the permanent fluidity of her facial expression over which emotions run freely. This game of alternations, paired with her voice, removes from the pyrotechnical virtuosity, the perception of an arbitrary decorative convention.
It must be said that by inviting Jessica Pratt to sing Elvira, barring accidents, means an easy win, at least for the female part of the cast. This is a fetish role perfectly interpreted by the English soprano that, again, in Marseille, thrilled her public.
The voice is solid and powerful, without any undesirable vibrato, the high notes are reached with ease, without excesses, with crystal clear precision. The vocalises are homogeneous and the final triumph is assured.
The secret card of Jessica Pratt is that she is actually possessed by her character, and even if in concert form, imbues a dramatic power to her hyper-romantic interpretation. She never exaggerates and the mad scene is believable and moving. A great Art.
Our house was always noisy and messy. Mum and Dad loved to host big dinners and Mum would take in anybody who needed help.
When I was 11, our family moved to Australia from Bristol [England] to be closer to my maternal grandmother, who was already living here.
Moving halfway across the world was rather traumatic for me and my siblings [brother Daniel, 39, and sister Gemma, 34]. We bonded because it really felt like us versus the world. We moved houses five times – from Toowoomba to Brisbane and then Sydney – before I decided to move to Italy 15 years ago to pursue opera.
What would you do to make a difference in the world?
I think that the arts are extremely important today as we live in a world in which individuals become more connected but more isolated everyday. When people come to a live show they get to experience something as a group, it fosters a sense of community and empathy and I think that is a small way that we as artists can make a difference in the world.
Jessica Pratt is an Australian girl made good earning an amazing reputation in around the world. Jessica is home to make her Sydney Opera House debut in "Lucia di Lammermoor", and, like the great Dame Nellie Melba, Jessica also had a dessert made in her honour...