![]() “Adrianne Pieczonka sang with steely strength and agility, imbuing the role of Leonore with superhuman effort and navigating her seemingly unsingable music with ease.” - Abendzeitung A work almost 50 years old, it still has the power to arrest and amaze, especially when performed with the sure and steady hands of musicians of the calibre that Soundstreams Canada assembled on Tuesday night.” - Globe and MailĪdrianne speaks with Allan Ulrich about her debut performances as Amelia in Verdi’s Simon Boccanegra at the Metropolitan Opera and the development of her career from early days at the Vienna Volksoper to her current busy international calendar. But Crumb's Ancient Voices was the stunning highlight of the evening. And there were even some Beatle songs arranged by Luciano Berio that Pieczonka threw in for good measure. Szabó and Pieczonka matched their darkly-hued voices in some George Crumb arrangements of American folk songs, from Hush, Little Baby to When the Saints Go Marching In. “Pieczonka delivered a stunning, passionate, deeply committed performance of a taxing, and still startlingly original work… The abandon and courage with which she threw herself into this work and inhabited its spirit attests to a creative intelligence in tune with our century, as well as centuries past. …it would be hard to do better than Pieczonka’s radiant performance.” - GramophoneĪdrianne Pieczonka on Rusalka, Jenufa and KatyaĪdrianne on her two upcoming debuts as Amelia in Simon Boccanegra at the Met and her debut at the Opera Bastille as Senta in Der Fliegender Holländer, and her love of performing Czech roles. ‘Im Treibhaus’ and ‘Träume’ especially, the two studies for Tristan und Isolde, radiate glowing soprano warmth, sympathetically seconded by Zeger. ‘Du meines Herzens Krönelein’ is affectionately playful and accompanied with a light touch by Brian Zeger (compare Strauss himself at the piano, casually flamboyant). Heard under the close scrutiny of a Lieder recital, her soprano retains a bloom that is positively youthful…In loving or sensuous Strauss songs, such as ‘Einerlei’ and ‘Rote Rosen’, the basic warmth of Pieczonka’s luminous voice sets a sort of Straussian ideal. “It is difficult to believe that Adrianne Pieczonka has built up some years of experience of singing taxing Strauss and Wagner roles in the opera house. This time, not only is Amelia Grimaldi a role debut for her, but the Met's HD cameras will simulcast her every note and move to a worldwide audience. When Adrianne Pieczonka steps onto the stage of the Metropolitan Opera to sing in Verdi's Simon Boccanegra on Saturday, things will be different. If J.D.See our Adrianne's 'older' opera guy in HD “Dead Girl Walking”, “Heathers: The Musical” The Phantom gets his own moment to shine later with the very difficult “The Music of the Night,” but an E6? There’s nothing more impressive than that … poor Christine.īefore we get to our top pick, here are some honorable mentions. By the time she finally gets to the end of the tune, she lets out an E6 – the highest note in the song, and in the show. ![]() The Phantom begins to magically draw notes out of Christine, each one higher than the last. ![]() The titular song in Andrew Lloyd Webber’s “The Phantom of the Opera” comes when Christine first follows the Phantom down into his lair – and the end of the song is absolutely killer. Sing, my angel of music! Sing, for me! And make it as high as humanly possible! This one is a doozy, folks.
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