Man spürt die Gischt im Gesicht (Der Westen, Kultur, 13.06.2011, Simon Tönies)
I agree completely with Ruhr Nachrichten review:
It was a very powerful, dynamic borderline tour de force through the music. Little room left to get some air for Montanaro and the two main soloists to the public. The Bulgarian tenor Zvetan Michailov had stepped in and sang as captain of the Corsairs in the first two acts of his lungs. At times, his voice sounding but a bit tight in the upper registers.
Dramatic Guleghina.
Eager were the friends of the opera on the role debut of the Russian dramatic soprano Maria Guleghina as Gulnara, the woman who tries to love, to mediate between enemies.Two years ago she had a terrific debut in the concert hall as Turandot. And although at that time the musical powerhouse Gergiev stood at the pulpit, which was a more sophisticated design, as they heard of the singer, now much changed visually. Still- this was high drama at debut of the soprano who has the appropriate role for the sharp metallic sound in her voice, hard to beat.
Elena Mosuc fine singing as beloved, Medora, if she had only omitted the mannered gestures. Great as were bassist Sebastian Catana as >Pascha with the chorus of young voices from Minsk. The WDR Radio Orchestra followed Montanaros passionate interpretation. It will be interesting to see how the performance will sound on the recorded CD, the 2012 Verdi's 200th Birthday 2013th.
>(Translated by Google and me)
2011-06-10 Il Corsaro (Verdi),Konzerthaus Dortmund
Medora = Elena Mosuc
Gulnara = Maria Guleghina
Corrado = Zvetan Michailov
Seid = Sebastian Catana
Giovanni = Adrian Sampetrean
Selimo / Un Eunuco Negro / Schiavo = Florian Simson
Carlo Montanaro, conductor
Chor der staatlichen Musikakademie Minsk, WDR Rundfunkorchester Köln
Maria Guleghina and Elena Mosuc impressed in Dortmund. Zvetan Michailov substituted for Giuseppe Varano.
The conductor Carlo Montanaro made the WDR radio orchestra play with love this vigorous music of Young Verdi. One could see how the orchestra members really enjoyed themselves. The smaller roles Seid (Sebastian Catana), Giovanni (Adrian Sampetrean), Selimo / Un Eunuco Negro / Schiavo (Florian Simson) was sung and acted brilliantly.
The older Bulgarian tenor Zvetan Michailov sang, not the younger Italian tenor Giuseppe Varano. To see Michailov sing was like you were in a recording studio. He looked at the notes and used his arms to force music out in the right moments. His voice was always a bit special, a dry voice and also a voice that you not easily would believe another tenor to be master of. His acting was more a singer struggling for perfection than acting as Corrado. I have a DVD with Michailov as Corrado from Parma opera. He was older now, but still a good Corrado.
Then it was Elena Mosuc. Elena Mosuc was a super delicate Medora. This was another mannerism than Zvetanov. Where Zvetanov went deep to find voice and a perfect attack to the notes, Elena Mosuc went deep into herself to find the intepretetative depth for Medora.
Finally it was Maria Guleghina as Gulnara. The dramatic powerhouse of a diva. She played two roles: one as Maria Guleghina DIVA, another as Gulnara, the favorite slave of Pascha Seid. In an newspaper it was commented that this duality was a little bit ironic but I believe that Maria Guleghina was completely aware of this and played that game also. A powerhouse as Gulnara, yes, that is the right approach. Gulnara is maybe a slave but she is still not subdued. She can stand on her own feet against the powerful pascha. She is fierce, just like Maria Guleghina's voice and appearance. No helpless heroine like Medora but as powerful as Corrado. In a way she got more guts and intelligence than Corrado. She takes her oppurtunities. No need to fear that Gulnara will choose death and not life after the death of Medora and Corrado.
It was Maria Guleghina and Elena Mosuc who won. BRAVA, Maria! BRAVA, Elena! So different and both so perfect in each of their roles.
For more reviews from my travels, see www.operaduetstravel.com
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