Il pi amato, il pi osannato, il solo e unico varieta` operistico radiofonico quotidiano riporta tra voi i due autori -conduttori "cult" Enrico Stinchelli e Michele Suozzo. Il programma, nato nel 1988 con il progetto di divulgare a piu` ampio raggio l'opera lirica, ha fornito infatti in questi anni u...
di Vincenzo Bellini
Melodramma in due atti
Libretto di Felice Romani
Milano, Teatro Carcano, 6 marzo 1831
Direttore: Speranza Scappucci
Regia: Giorgio Barberio Corsetti
Maestro del coro: Roberto Gabbiani
Scene: Cristian Taraborrelli
Costumi: Angela Buscemi
Luci: Marco Giusti
Video: Gianluigi Toccafondo
Amina: Jessica Pratt / Jessica Nuccio (3 marzo)
Elvino: Juan Francisco Gatell / Giorgio Misseri (3 marzo)
Il Conte Rodolfo: Riccardo Zanellato / Dario Russo (25 febbraio, 3 marzo)
Lisa: Valentina Varriale
Teresa: Reut Ventorero
Alessio: Timofei Baranov
Orchestra e Coro del Teatro dell’Opera di Roma
Allestimento in collaborazione con Teatro Petruzzelli di Bari
con sovratitoli in italiano e inglese
Jessica Pratt shared Teatro dell'Opera di Roma's video.
#Lasonnambula: in attesa della prima di domenica 18 febbraio, ecco le interviste a Speranza Scappucci, Jessica Pratt e #GiorgioBarberioCorsetti
video realizzato da Maxim Derevianko
Questa è la storia di Jessica Pratt, una regina del belcanto che per mantenersi, in Australia, serviva hamburger da McDonald’s. Dal 18 all’Opera canta La Sonnambuladi Bellini, sul podio Speranza Scappucci, nell’allestimento di Giorgio Barberio Corsetti che la vide protagonista due anni fa al Petruzzelli di Bari.
Photo: A. Bofill
ESCENOGRAFIA I VESTUARI
Gran Teatre del Liceu
ORQUESTRA SIMFÒNICA I COR DEL GRAN TEATRE DEL LICEU
DIRECCIÓ DEL COR
Adina Jessica Pratt
Nemorino Pavol Breslik
Belcore Paolo Bordogna
Dulcamara Roberto de Candia
Giannetta Mercedes Gancedo
Jessica Pratt added 10 new photos — with Jessica De Menna and 4 others at Gran Teatre del Liceu.
Soprano Jessica Pratt made her debut in the role of Adina on the stage in Barcelona with scenic authority and secure singing; her interpretation was no less, exhibiting a portentous technique and crowning her interventions with an apotheosis on the final number with agility and ornaments of her production.
...the flirtatious and capricious Adina was defended by Jessica Pratt's fitting coloratura, with careful low notes, a perfect control of the breath, with moments of great vocal exhibition, as in the case of the scene with Dulcamara "Quanto Amore!" and the splendid cabaletta "Il mio rigor dimentica";
Ma la vera trionfatrice e protagonista della serata è risultata, nei panni di Adina, il soprano australiano Jessica Pratt.
Delinea una Adina padrona e signora degli eventi, per questo aiutata anche da una regia che la denota come donna consapevole della scelta di accettare la proposta di Belcore.
Se nel primo atto domina una rappresentazione di Adina spensierata e scherzosa nell’atteggiamento di una che sa tenere le distanze con le dovute maniere, nel II atto delinea un personaggio che si assume tutte le responsabilità di una scelta sbagliata dando al personaggio una connotazione più lirica e malinconica che emerge proprio nel momento del confronto /confessione con Dulcamara. Suggestiva e penetrante risulta il duetto finale con Nemorino “Prendi, per me sei libero” con la cabaletta “Il mio rigor dimentica” con la quale Jessica Pratt ha dimostrato al pubblico quello di cui è capace di fare e che le riesce al meglio e con cui ha connotato la sua carriera di cantante d’agilità.
La Pratt ha introdotto variazioni alla cabaletta, rimanendo nella linea di canto impressa da Donizetti, ma arricchendola di terzine, picchettati e agilità che raggiungono il Fa sopracuto. In questo modo, come è sua consuetudine, ha impresso all’esecuzione il suo marchio personale, lanciando sfide vocali lungo il sottile filo delle agilità come uno scalatore in piena ascensione libera.
Jessica Pratt has been superb and has reached the peak of her performance with "Prendi, per me sei libero", in which she shown a whole range vocal tricks from the greatest belcanto tradition, dazzling the audience, from the finest top notes to the most impeccable pianissimi; this alone was worth paying for an evening at the Liceu.
Of the cast is especially noteworthy the debut in the character of Adina of the soprano Jessica Pratt; the Australian artist triumphs all over the world with her romantic bel canto repertoire and in Barcelona, where she had already performed in Rossini's Otello - in a concert version - she depicted a very special character, highlighting her excellent line of singing and acting, very refined and fun, as well as a phrasing and a vocal registry with dream-like top notes that allowed her to add spectacular coloratura and variations that were greatly appreciated by the public.
The triumpher of the evening was undoubtedly the young Jessica Pratt who debuted in the role of Adina.
She offered us a luxurious coloratura with diamond-like top notes, as well as an enviable control of the positioning of her voice. She also flashed some precious legati, as the consumed Belcanto interpreter she is. Pratt, whose career is in stellar acceleration and we hope to follow often from Barcelona, has given us a delicious duet of "Prendi, per me sei libero" with such ease that made Donizetti's diabolical score seem easy.
Australian soprano Jessica Pratt has a belcanto voice of great quality, with lovely lyrical lines, easiness for coloratura, great projection and skill in thinning the sound in the top of the register – which invariably wins the audience’s heart. She started by dosing her voice whilst studying the acoustics and ended up very well. Her “Prendi, per me sei libero” was of the greatest quality.
...and this year the clear triumph was Jessica Pratt. The Bel Canto credentials of the Australian soprano where already showing during the first part of the show, with some overwhelming additions here and there, hinting to the fact that this determined Adina would have felt at ease with the vibrant fioriture of the final. And so it was in a "Prendi, per me sei libero" that Pratt decorated with great taste.
...the star (undisputed as indisputable) of the evening was Jessica Pratt. For her debut, the British-Australian soprano served us with a very high-caliber Adina, as we rarely have heard. Thankful for having made us hear for the first time many numbers without cuts, such as the caballetta (fast and virtuous final episode) of the second act. She rises on the highest top notes, floated C's pianissimo, interpolated final high F's, not to mention a mindblowing E flat in the transition to the caballetta and breathtaking vocalizations: this great Pratt aria alone is worth the trip to Barcelona!
...this immense Bel Canto soprano walks in footsteps of her illustrious predecessor, Dame Joan Sutherland (also Australian), who was able (like Callas) to give back to Bel Canto it's true soul.
The great triumpher of the evening was Jessica Pratt. The Australian soprano overcame the difficulties of her debut [...] little by little, thanks to the beauty of her timbre and the absolute domination of the coloratura at her side, she ended up excelling in the role. Light, free phrasing and the use of the best vocal pyrotechnic resources soon became dazzling. A reference Adina in sight.
Spectacular in the coloratura, with ornaments in the best tradition of bel canto and well projected top notes, Jessica Pratt triumphed as Adina, showing off the most spectacular tools in the second act.
Jessica Pratt’s Adina proved that she has all of the necessary bel canto tools at her disposal: a genuine trill, impeccable coloratura, an ability to float phrases on the breath – she certainly has an impressive technique. She even gave us some stratospheric embellishments that were received with glee by a number of gentlemen in the audience. It’s a full and rounded soprano and undeniably impressive.
Even more appealing was the Australian diva Jessica Pratt, who donated the first Elisir d'Amore of her career to Barcelona, including the agility variations of her final cabaletta (with an interpolated high F). Variations that the bel canto of the time allowed, and that won her a strong applause ...
But above all, there was a lot of anticipation for the debut of the Australian Jessica Pratt in the role of Adina, and in this sense, the soprano did not disappoint at all. She embroidered the character both from the vocal point of view - with hypnotic and sparkling fioriture - and from the interpretative one. Pratt was an Adina proud and aloof, but also playful and seductive with the unfolding of the plot. More used to tragic roles, Pratt has shown that, if needed, she knows how to wear a floral dress and make a simple peasant go crazy. [...] her impressive voice, which sometimes climbs into impossible figures, makes you forget everything else.
Jessica Pratt [...] is a Bel canto soprano with an extraordinary class and an admirable style.
...vocally Adina is spectacular, especially in the second act, and of course in the “Prendi per me, sei libero” and corresponding cabaletta, where she set free a pyrotechnic voice, kept in check until then, making a nice show of very well executed scales, staccati, picchiettati, all the ornamentations of her own creation, mostly very appropriate, an elegant phrasing and, ultimately, a truly admirable bel canto style. Brava!
...the Australian soprano Jessica Pratt, in her debut with both the opera and the Liceu, stood out to the challenge. Great attention to the legato, pianissimi of great refinement and a stratospheric "Il mio rigor dimentico" (cabaletta with variations signed by Pratt) including of an interpolated high F that consecrated her debut in the role of Adina. She was the star of the evening.
Jessica Pratt is an English soprano, raised in Australia and living in Italy, that made her debut in the role of Adina with this production. She moves well on stage, taking over the role in just over five minutes, with perilous singing variations, passing with full score, especially in the second act, thanks to her agility and final top notes.
Jessica Pratt makes her debut in the role of the heroine of Donizetti's "L'elisir d'amore", which she calls "a free and independent woman".
Started as a trumpet player, after 10 years of studying she decided to turn her career and move on to singing. Jessica Pratt, born in Bristol (England) but of Australian nationality, is today one of the stars of the romantic bel canto.