“….Simon Keenlyside did an excellent job as the Count. “Diana Damrau and Simon Keenlyside are superb in Milan’s Le nozze di Figaro” ….The great duet between the countess and count in the second act was one of the few authentic moments of the evening……” I don’t know why this time he didn’t do the trill at the end but to point out this fact is pure meanness on my part. His aria was the first one of the evening that set off applause, and fully deservedly so. The voice projected without any difficulty, both in passages with orchestra and in recitatives his singing and acting (even with a stage direction like that) were an example of how this Mozart character should be played today. Keenlyside’s Count has become an institution, and he demonstrated why from his first recitative to his marvellous ‘Contessa, perdono’. “….Fortunately, although this seems neither in the spirit of Beaumarchais’ original work (nor, I’m afraid, in the spirit of DaPonte), the aristocratic couple stood out by far from the rest. More than mediocre ‘Nozze’ with two luxurious aristocrats He has a notable career under his belt and his voice shows some “symptoms of age”, but has kept its strength, its mid-range of considerable power and a solid technique which allows him to work against these limitations most of the time….” “….It was a pleasure to hear Simon Keenlyside, who I had never heard live before. Ieri, Oggi, Domani, Opera!, Stefano de Ceglia, 22 November 2016
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