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Press Room 2000
“ANNA BOLENA” - Naples Teatro San Carlo 23-26-28-30 May/1-3 June 2000 “La Repubblica” 25 May 2000 Applause at the premiere “… Daniela Barcellona stood out among the other interpreters. A high-powered mezzosoprano, she endowed her Giovanna Seymour with a voice which can only be described as a “river of sound”.” Sandro Compagnone “Il Mattino” – Naples, 26 May 2000 Success for Donizetti’s opera at the S. Carlo Bolena, or the meaning of sorrow “… it is impossible to decide which of the two singers is superior: [Dimitra Theodossiu…] or the passionate and sensual Daniela Barcellona in her first decisive test in a major role like that of Giovanna Seymour…” Giovanni Carli Ballola “L’Opera” n. 141 June 2000 The Queen and her rival “At the San Carlo Opera House, only the performances of Dimitra Theodossiou and Daniela Barcellona could be called convincing…” Daniela Barcellona’s Seymour displayed great vocal skill, and she interpreted her role with self-assurance and empathy…” Antonello Santini “Opera International” n. 248 – July 2000 Around the title role Daniela Barcellona revealed a beautiful voice, with a wide range and explosive highs… We must admit, her passionate Giovanna gave us considerable pleasure…” Gina Guandalini “LA CENERENTOLA” – Rome Teatro dell’Opera –7-9-11-13 July 2000 “Il Messaggero” 9 July 2000 “The youthful Daniela Barcellona is a vocally self-assured and elegant Cenerentola, and she acquitted herself quite well in the daunting final rondo. However, she could have given us something more in terms of pathos and verve.” Al.G. “La Repubblica” 10 July 2000 “There was considerable curiousity concerning Daniela Barcellona, a young singer with a penchant for Rossini who has just been launched on an international career. She has a fine, dark and expressive voice and, based on her curriculum, this seems to be her debut in this role.” Landa Ketoff “L’Opera” n. 143 September 2000 “A very respectable cast of singers with an excellent and self-assured Daniela Barcellona in the title role…” Maria Delogu CONCERTO di BELCANTO - PESARO Teatro Rossini - 9 August 2000 “Corriere Adriatico”Pesaro - 10 August 2000 An extraordinary Barcellona triumphs at the Rossini (She provides a preview of the ROF 2001) “Precious samplings of ROF XXII. A gift from mezzosoprano Daniela Barcellona, whose international opera career was launched by the Pesaro festival. A terrific interpreter of the title role in Tancredi in last year’s festival, Daniela Barcellona was definitely the star in the Rossini Theatre’s second bel canto concert. And what a concert! The difficult, intense programme lavished emotion on an attentive and sympathetic audience. The historic Pesaro Opera House wasn’t sold out, but spectators will long remember Daniela Barcellona’s performance. The Triestine mezzosoprano offered some pieces from the upcoming ROF with Malcolm’s cavatina, from La donna del lago. D. B. will interpret this role in next year’s edition, which will gain lustre from the exciting new setting of the Palafestival. What a thrill, what emotion in listening to this wonderful music! What a joy to hear “Mura felici” (and the walls of the Rossini Opera House were happy indeed, the same venue where, last year, D.B. was applauded repeatedly in the midst of her scenes). Luigi Ferrari, ROF artistic director for a few more days (he is the new director of the Municipal Theatre of Bologna) was also seen smiling happily in his box (for the mezzosoprano was first brought to Pesaro at his insistence). Pure joy listening to Vivaldi’s Griselda, or Handel’s Rinaldo, but also Tancredi (Bertoni’s version, for Rossini’s Tancredi was reserved for the only encore) and Arsace, from Semiramide by the Swan. A triumph, underscored by wave after wave of heartfelt and richly deserved applause. Barcellona is authoritative in an exemplary way, with intense interpretations and an awareness of her own qualities that perhaps stems from last year’s triumph. Her voice, while clear and strong, is also capable of the sensitive shadings of grief and pain so often met with in operatic characters. In short, her talent is tangible and certain. Thanks to the ROF, bel canto has found a wonderful new interpreter of the roles made famous by the unforgettable Lucia Valentini Terrani. Luciano Murgia “Il resto del Carlino” – PESARO – 11 August 2000 Barcellona, ROF enfant du pays The second of four bel canto concerts marked the triumph of mezzosoprano Daniela Barcellona, whose fame exploded in Tancredi last year right here at the ROF. Because D.B. (masterfully accompanied by her maestro, Alessandro Vitiello) finds everyone’s approval, from uncompromising music-lovers to vocal purists, to the vast majority of “average” fans who view singing and opera as an occasion for pleasure and escapism and not as a battlefield. Daniela Barcellona is young and skilled and, as far as we know, persevering and quite modest in the pursuit of her musical studies. The first part of her splendid programme, which was preparatory to the mezzosoprano’s ambiguous and seductive role (the most significant to date as it presents Rossinian voice par excellence), ranged over Vivaldi and Handel, Gluck and Bertoni, while the second part was dedicated entirely to Rossini, with the momentous and beautiful “Eccomi alfin in Babilonia” from Semiramide, the amorous and nostalgic palpitations of “Mura felici ove il mio ben s’aggira” from La donna del lago and finally Giovanna D’Arco in the solo version which the composer dedicated to Olympe Pélissier. Daniela Barcellona’s register is rich, soft and noble, with mezzo-contralto and soprano-like incursions that endow her performances with a greater range, expressive depth and vocal aptness dissolving in warm and poignant phrasing. In Semiramide, Daniela Barcellona’s travesti role was made richer by persuasive and sparkling variations, while in the dream-like sweetness of La donna del lago (reevoking the unforgettable emotions of the 1981 performance, while we anxiously await the 2001 production), Barcellona displayed all the dreamy tremors of alienated beauty with which the opera is imbued. There’s a definite changing of the guard in these “Concerti per gli amici”: the VIPs who merely want to gossip and pose for the cameras in all their ostentatious finery vanish, and their place is taken by the real devotees who are not ashamed to weep openly. They are the ones who let themselves go in carefree abandon, beating hands and feet in time to the rhythm and feeling a joy that only music seems to be able to generate today, a joy which unites human hearts. This acclaimed song-fest deserved its marvellous encore, “Di tanti palpiti”, a symbol for all Rossinians. A memorable synthesis of nostalgia old and new sung by a smiling Mrs. Barcellona. For happiness, in gratitude. Ivana Baldassarri “AH! QUAL NOTTE” CONCERT – PESARO Teatro Rossini - 12 – 16 August 2000 “Corriere Adriatico” 12 August 2000 The night of the stars “The experts tell us that tonight is the night for falling stars, but they’re wrong: tonight we’re going to see stars that shine brightly in the opera firmament! Ah, what a night awaits us at 9.30pm at the Rossini Opera House. Ah, what a night with Daniela Barcellona and Eva Mei, the stars of “grandi scene di bel canto” (with a second performance on Wednesday 16th at 10pm). … On Wednesday, Daniela Barcellona was the extraordinary protagonist of one of four bel canto concerts. … No falling stars here: both our mezzosoprano and soprano promise a night of fireworks …” Luciano Murgia “Il Resto del Carlino” Pesaro – 14 August 2000 ROF: An enchanting Eva Mei and Daniela Barcellona in “grandi scene” “… A rich and complex concert, the evocative title of which, “Ah, what a night”, promised romantic scenarios enobled by “il cantar che nell’anima si sente” as Rossini used to call “lo sfavillante carro del bel canto”. Eva Mei and Daniela Barcellona were stunning. The greatest applause of the evening went to Falliero’s gran scena of bel canto from Rossini’s Bianca e Falliero. Mezzosoprano Daniela Barcellona displayed a profound and genuine passion which her maniacal perfectionism has still not succeeded in cooling or rendering affected. Her generous voice flowed forth as if amazed by its own naturalness which, left free to revel in itself, compelled, moved and provoked a whole range of emotions in the audience. … Ecstatic handclapping, shouted compliments and “bravas” typical of 18th Century theatrical passions and which included even the less than overwhelming Lyon Orchestra. This uncontrolled applause was rewarded with two spendid encores, one of which from La donna del lago. See you in 2001?” Ivana Baldassarri “Corriere Adriatico” – Pesaro, 14 August 2000 Great success for Daniela Barcellona and Eva Mei TWO PRIMA DONNAS AT THE ROF “… As regards Pesaro in particular, we should like to stress how both pieces highlighted Daniela Barcellona’s splendid voice, thanks to the clearly defined articulation of the recitatives, the intense, pathos-rich arias and the mix of choral and solo singing. Her singing is vibrantly expressive, with a luxurious timbre, majestically flowing in legatos and with scintillating harmonics (her Romeo will stand as a milestone)… As leading soloists of the moment, they each succeeded in driving an enthusiastic audience wild. In the end they came together for a few instants in what seemed to be a spontaneous duet in the name of Rossini, amid continuous hosannas…” Fabio Brisighelli “Corriere Adriatico” – Pesaro, 19 August 2000 LUIGI FERRARI interviewed by Luciano Murgia: “… A long tenure as artistic director marked by success and controversy, and with many artists who came into their own under our guidance, such as Daniela Barcellona” “I’d like to recall last year’s Tancredi, which signalled the effective, albeit unofficial start of Daniela Barcellona’s career. She was cultivated in our garden, she’s an artist who ‘blossomed’ in our Festival. …” ¨ I haven’t mentioned Tancredi because I noticed your “palpitations” during Daniela Barcellona’s concerto. You’re the one who really wanted her at the ROF. “Artistically speaking Daniela is a very special creature, with an extraordinary natural talent and a very linear spirit. She’s very bright, with no barrier between her innermost self and the outside world: she’s open, direct and very sweet. She gets tremendously involved in rehearsals, sometimes excessively so. The reactions of Mariotti, Pizzi and myself to her audition for Tancredi’s role in Pesaro were not unanimous. Her performance was not particularly outstanding, and we were concerned about her nervousness. After we got to know her over the next two months, our decision was unanimous. The fact that decisions for the ROF are made collectively is one of the things that makes us so successful.” “ORPHEUS” November 2000 “… Daniela Barcellona triumphed in Falliero’s gran scena in Bianca e Falliero. Vocal power, technical skill, a great sense of musical style, an extremely personal timbre and dramatic commitment set this young singer apart. Already an event and a promise for the future…” “Corriere Adriatico”- Pesaro, 22 August 2000 GIANFRANCO MARIOTTI interviewed by Luciano Murgia “Daniela Barcellona and Juan Diego Florez are two flowers that blossomed in our garden” …She’s not a phenomenon yet, but her participation both last year and this year were a good augury for the ROF’s future success. We are talking about Daniela Barcellona. “Daniela is another fairy tale come true. She studied at the Rossini Academy and in the Chamber Theatre with Philip Gosset. A wonderful person: modest without being humble, aware of her abilites but without ostentation. An extraordinary interpreter, launched by Tancredi, on her way to stardom. We are very proud of Juan Diego and Daniela, two flowers that blossomed in our garden.” “L’Opera” n. 143 - September 2000 “… A big audience and wide acclaim for the female singers who are currently seen as the most valid exponents of bel canto. Daniela Barcellona is particularly remarkable. She is capable of instilling a rare emotional vigour into her interpretations.” “ORPHEUS” November 2000 “… Daniela Barcellona triumphed in Falliero’s gran scena in Bianca e Falliero. Vocal power, technical skill, a great sense of musical style, an extremely personal timbre and dramatic commitment set this young singer apart. Already an event and a promise for the future…” Luciano Landolfi “STABAT MATER” S.SEBASTIAN 3 September 2000 “EL DIARIO VASCO” – 4 September 2000 “… Daniela Barcellona’s rendition of the cavatina “Fac, ut portem” in andante grazioso left us marvelling at the beauty of her voice…” “ORFEO ed EURIDICE ” – JESI Teatro Pergolesi – 30 September/1 October 2000 “CORRIERE ADRIATICO” – Jesi - 30 September 2000 “… we should also highlight Daniela Barcellona’s debut in one of the key roles. She has been defined by the critics as the most interesting emerging mezzosoprano” Mario Carotti “IL RESTO DEL CARLINO” – Jesi – 30 September 2000 “… some other elements added spice to the première, starting with the singer who will interpret Orpheus: mezzosoprano Daniela Barcellona, who came into her own last year at the ROF in Pesaro where her Tancredi had the audience in ecstasy…” Marco Torcoletti “IL RESTO DEL CARLINO” – Jesi – 1 October 2000 “A large audience greeted the opening of the 33rd Jesi opera season… with the main local and regional cultural, political and religious authorities present. They too joined in the enthusiastic applause for the marvellous singers… Daniela Barcellona (Orfeo) … who confirmed her great artistic skills.” Mauro Rocchegiani “CORRIERE ADRIATICO” – Jesi – 1 October 2000 “… Great success for Daniela Barcellona and her amazing Orfeo, with best wishes for everyone at the conclusion of the première in Jesi…” Giovanni Filosa “IL RESTO DEL CARLINO” – Jesi – 2 October 2000 “Just as the voice of the legendary Orpheus soothed the souls of men and could move even stones with its harmonious sweetness, so too Daniela Barcellona succeeded in captivating the audience at the première of Gluck’s opera at the Pergolesi Opera House…” Mauro Rocchegiani “GLI AMICI DELLA MUSICA” – November 2000 “Extraordinary Barcellona…” “…Our expectations were not disappointed thanks to Barcellona’s superb performance. Her voice was skillfully modulated despite the rather restrained tempi imposed by the conductor…” Vincenzo Pasquali “CORRIERE ADRIATICO” 2 October 2000 “Bewitching Orpheus” “… We can begin by saying that in this beautiful and evocative version of the opera… the travesti role of the lead actor could find no better interpreter than mezzosoprano Daniela Barcellona, a recent and exquisite acquisition to bel canto who is singing this role for the first time. Vocally, Gluck’s Orfeo is extremely effective. Gifted with a strong musical timbre, with natural harmonics and vibratos which are pearl-like and compact in the middle range (her strength), and, in accordance with the other registers, dissolve in magnificent and palpitating singing of great beauty, Daniela Barcellona reproduced the vivid and intense vocal figures at their finest, thanks to her capacity for ecstatic lyrical abandon and a sweet and intimate, almost “hedonistic”, melancholy. Her stylistic approach by which the recitative spontaneously referred to the aria, captured perfectly the “prosody of the spirit” intended by the composer … A great success for all, with curtain calls for Barcellona that were little short of ovations. Fabio Brisighelli “IL PICCOLO” Trieste Daniela, a seductive Orpheus opens the opera season in Jesi “… sung in Jesi by Daniela Barcellona, who was last year’s revelation in Pesaro with an astonishing Tancredi. While Orfeo’s role is not as demanding (there are no agilities), it requires something more: seduction, as befits the legendary wandering minstrel whose singing no creature could resist. Daniela Barcellona, with her full, burnished voice and ineffable timbre, together with the sweetest of phrasing, almost achieved an exemplary interpretation. The audience’s response was extremely enthusiastic. Carla Maria Casanova “IL RESTO DEL CARLINO” 3 October 2000 Daniela Barcellona, the splendid interpreter at the “Pergolesi” in Jesi ORFEO A SEDUCTIVE TRIUMPH “… This production, which was greeted enthusiastically by the audience, is built around Daniela Barcellona’s lead role. This highly acclaimed interpreter forged her character with elegant musicality, measured phrasing and controlled expressive grace… Applause for the entire cast and stadium-like ovations for Barcellona.” Adriano Cavicchi “THE VOICE” N. 19-2000 “Our Orfeo is the superlative Daniela Barcellona – an acclaimed Tancredi at the 1999 ROF, a mezzosoprano who has already come to the attention of conductors of the calibre of Muti, Levine, Abbado…” Paola Soffià “AMADEUS” December 2000 n. 12 “Daniela Barcellona’s fascinating style” “… Daniela Barcellona interprets the opera’s lead role and she must be credited with much of this production’s success … The evening was distinguished by Barcellona’s presence, who gave us an Orfeo with a fascinating yet measured style and just the right chiaroscuro in the inflections and a vocal line that was always appropriate in phrasing, as well as colour, timbre and uniformity.” Francesco A. Saponaro “RM – RASSEGNA MUSICALE” July-October 2000 Orfeo’s bewitching lyre “… the Olympic torch of the lead role was proudly carried by Daniela Barcellona, and not just figuratively. She is increasingly the rising mezzosoprano of the moment, as demonstrated by her triumph in Tancredi at the Rossini Opera Festival last year in Pesaro, and in other mainly Rossinian roles. Endowed with a significant, almost historic voice, in terms of its timbre and other outstanding features, Barcellona dominates the stage, both physically and thanks to a voice that bursts forth with great volume and is rich in intensely expressive accents. Her Orfeo restores the proper male elements to a feminine sensitivity expressed by a womanly voice, while maintaining the right balance between lyricism, pathos, purity of expression, interpretative vigour, and the meaning and primary role of words (for Orfeo not only sings a great deal, he also speaks a great deal musically). A debut like this, for the Triestine artist, can only add lustre to her rising career, as the audience’s warm appreciation seemed to confirm.” Claudia A. Pastorino “L’OPERA” December 2000 n. 145 Of sharpest pain Jesi: the season was inaugurated at the Pergolesi Opera House with Orfeo ed Euridice and an excellent Daniela Barcellona in the lead role “… A fine production that attained a level of excellence with Daniela Barcellona’s Orfeo. The unvarying beauty and purity of her voice over its entire range, and a constantly noble and controlled singing line endowed the lead character with a semi-divine quality, impervious to violent passions. If we wished to quibble, we could accuse this very neoclassical and marmoreal interpretation of depriving the character of some of its dramatic qualities …” Mauro Mariani |