I Puritani

by Vincenzo Bellini

Opéra de Marseille http://opera.marseille.fr

Marseille, France
  • Conductor Giuliano Carella
  • November 2019
    14:30 > 17:30
    3 hours
  • November 2019
    20:00 > 23:00
    3 hours
Find out more about the Cast , the Composition , the Composer or what the Reviews say

I Puritani


Press & Reviews

Toute La Culture
Paul Fourier
Con I Puritani, il belcanto alla perfezione a Marsiglia
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.
GB Opera
Jocelyne de Nicola
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.
Concert Classic
Michel Egéa
The triumphant Belcanto of Jessica Pratt and Yijei Shi
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.

José Pons
I Puritani ignite Opéra de Marseille
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.
François Jestin
I Puritani send Opéra de Marseille in ecstasy
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.
Jean-Luc Vannier
Jessica Pratt e Yijie Shi, superbo duo amoroso ne I Puritani all'Opera di Marsiglia
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.

Michel Egéa
"I Puritani": monumentale Jessica Pratt
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.
Forum Opera
Maurice Salles
A roar of pleasure
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.
Le Podcast Journal
Christian Colombeau
I Puritani di Bellini all'Opera di Marsiglia
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.

The Composition

I Puritani

Libretto written in italian by Carlo Pepoli, was first premiered on a Sunday on January 25 of 1835

Vincenzo Bellini

Short biography of the composer
Vincenzo Salvatore Carmelo Francesco Bellini (3 November 1801 – 23 September 1835) was an Italian opera composer, who was known for his long-flowing melodic lines for which he was named "the Swan of Catania". Many years later, in 1898, Giuseppe Verdi "praised the broad curves of Bellini's melody: 'there are extremely long melodies as no-one else had ever made before' " A large amount of what is known about Bellini's life and his activities comes from surviving letters—except for a short period—which were written over his lifetime to his friend Francesco Florimo, whom he had met as a fellow student in Naples and with whom he maintained a lifelong friendship. Other sources of information come from correspondence saved by other friends and business acquaintances. Bellini was the quintessential composer of the Italian bel canto era of the early 19th century, and his work has been summed up by the London critic Tim Ashley as: ... also hugely influential, as much admired by other composers as he was by the public. Verdi raved about his "long, long, long melodies ..." Wagner, who rarely liked anyone but himself, was spellbound by Bellini's almost uncanny ability to match music with text and psychology. Liszt and Chopin professed themselves fans. Of the 19th-century giants, only Berlioz demurred. Those musicologists who consider Bellini to be merely a melancholic tunesmith are now in the minority. In considering which of his operas can be seen to be his greatest successes over the almost two hundred years since his death, Il pirata laid much of the groundwork in 1827, achieving very early recognition in comparison to Donizetti's having written thirty operas before his major 1830 triumph with Anna Bolena. Both I Capuleti ed i Montecchi at La Fenice in 1830 and La sonnambula in Milan in 1831 reached new triumphal heights, although initially Norma, given at La Scala in 1831 did not fare as well until later performances elsewhere. "The genuine triumph" of I puritani in January 1835 in Paris capped a significant career. Certainly, Capuleti, La sonnambula, Norma, and I puritani are regularly performed today. After his initial success in Naples, most of the rest of his short life was spent outside of both Sicily and Naples, those years being followed with his living and composing in Milan and Northern Italy, and—after a visit to London—then came his final masterpiece in Paris, I puritani. Only nine months later, Bellini died in Puteaux, France at the age of 33.


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