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Press Room 2001
L’ITALIANA IN ALGERI - OVIEDO Teatro Campoamor - 15-17-19 January 2001 “La voz de Asturias” 17 January 2001 “… The principal female character, Isabella, was perfectly interpreted by Daniela Barcellona, who displayed an extraordinary voice in terms of quality, beauty and vigour, as well as remarkable acting ability. Her Isabella is confident of her beauty and power over men, and in no way intimidated by the fact that she has been made captive by the Bey of Algiers.” Cristina Rio “Scherzo” n. 152 – March 2001 And to conclude, Rossini “… The musical portion was far more interesting. The substitution of Lola Casariego by Daniela Barcellona (due to scheduling conflicts) was a stroke of good luck and constitutes her artistic debut in Luis G. Iberni “LA NUOVA ESPAÑA” 17 JANUARY 2001 Rossinian goldsmiths “… Daniela Barcellona is a splendid Isabella. Though still quite young, her vocal maturity takes your breath away. She’s currently the major event in European opera, and has nothing to do with commercial hype or fake launchings of the “next diva”. Barcellona has earned her premiere position among Rossinian mezzos thanks to her hard work and skills. She has a 24 carat voice, her timbre is rich and full-bodied, with good volume and distinct phrasing and she delights in displaying an astonishing ease in agilities. Her Isabella has a distinctive personality, placing Barcellona among the major interpreters of this role. She is in the same class with Horne, Valentini Terrani and Berganza, to mention just a few memorable Italian names. She is merry, but also authoritative. There are “no safety nets” in her interpretation of this deceitful character, and she displays all the confidence necessary in order to take the measure of this immense figure. Barcellona’s theatrical skills are an added plus. We’ll be hearing a lot about this Italian mezzo, who hopefully will be linked as much as possible to our own operatic season…” Cosme Marina GINEVRA DI SCOZIA - TRIESTE Teatro Verdi – 21-24-27-29 April /2 May 2001 “Messaggero Veneto” 23 April 2001 Ginevra the Queen of Trieste “Triumphant return of Mayr’s opera which inaugurated the Verdi 200 years ago” “… Mrs Bonfadelli’s absence focused even greater attention on Daniela Barcellona, the young Triestine mezzosoprano whose homecoming was much anticipated after her international triumphs following Tancredi in Pesaro. Her travesti Ariodante, which was originally written for the legendary sopranist “the marquis”, was truly heroic and abundant, as befits a knight of olden times. From the very first cavatina, her intonations were proud and eloquent, always aristocratic but ardent in dramatic moments and tender in emotional passages…” Danilo Soli “Ritmo” n. 733 – July-August 2001 “… Daniela Barcellona was an ideal Ariodante (she has a mezzo timbre with contralto nuances), with flawless range, style and agility…” Jorge Binaghi “Il Gazzettino” Trieste – 23 April 2001 Reproducing emotion “… the qualities of the Ariodante role, sung by the Triestine mezzosoprano Daniela Barcellona who specialises in travesti roles, stood out from the rest of the cast at the Verdi Opera House. She has a powerful voice, full of mystery and ambiguous nuances and she was the only singer who received sincere applause…” Daniela Bonitatibus “Il Gazzettino” 23 April 2001 The forgotten “Ginevra di Scozia” resurrected two centuries later “… unfortunately Mayr’s score is incredibly demanding vocally. In Trieste, Daniela Barcellona stood out in the role of Ariodante…” Paolo Petazzi “Il sole 24 ore” 29 April 2001 Mayr’s Ginevra makes an unlikely return to Trieste “… Daniela Barcellona is young but a solid prospect. Built like a basketball player, with an ample but supple singing line, and rich with color and phrasing. In Trieste, she was playing before the home crowd, but her Ariodante travesti role had the same enthusiastic reception as her memorable Tancredi in Pesaro two summers ago…" Carla Moreni “L’Opera” n. 151 May 2001 Sort of medieval … “… Ultimately, and quite unexpectedly, the second cast proved to be more compact and balanced than the regular company in which only Daniela Barcellona, the Triestine mezzosoprano in her delayed hometown debut, was equal to her task. In addition to her numerous and impressive vocal merits, Barcellona’s Ariodante grew stronger as the opera progressed, with not only a good command of breath and agilities, but captivating phrasing and remarkable stage presence…” Rino Alessi “Opera International” n. 258 – June 2001 “In Trieste we fell under the spell of Daniela Barcellona’s splendid Ariodante, thanks to her generous and burnished timbre, her uniform emissions in the entire register and her scrupulous phrasing…” Umberto Fornasier “Orpheus” – August-September 2001 “… The star of the evening was definitely the Italian mezzosoprano Daniela Barcellona, whose recent Tancredi displayed a well-controlled voice with nice coloratura. In the role of Ariodante, originally written for the castrato Luigi Marchesi (following Haendel’s well-known version) she was completely self-assured, though perhaps with a certain lack of the heroic in her tone…” Geerd Heinsen “Opera Actual” n. 46 July/August 2001 “… Daniela Barcellona, Triestine mezzo in her hometown debut, was the authentic triumph of the evening in the travesti role of Ariodante…” A.M. “Il Giornale della musica” May 2001 The anonymous “Ginevra” of the bicentennial “Our overall opinion of the cast is a positive one, with a splendid Ariodante outshining all. This role was superbly interpreted by the Triestine mezzosoprano Daniela Barcellona, the real star of the evening.” Giorgio Cerasoli Tancredi – Marseilles Opéra – 12-15-17-20-23 June 2001 “Opera International” “… an exceptional duo onstage in Daniela Barcellona and Annick Massis. We finally had an authentic mezzo in Tancredi’s part, with a full, well-timbred low register, a powerful and balanced voice, and dramatic credibility throughout. Well deserving of admiration…” Romain Feist MESSA DA REQUIEM Verona Arena - 29 June 2001 Milan Nuovo Auditorium - July 2001 “Il Giornale” 1 July 2001 Verona: “… Barcellona was excellent, her training in Rossinian bel canto serving her well in terms of the clarity and profundity of Verdi’s words …” Alberto Cantù “Il Gazzettino” 11 July 2001 Verona: “The soprano Daniela Dessì and mezzosoprano Daniela Barcellona distinguished themselves. Their voices were quite dramatic in the duet “Recordare” and in “Offertorio”…” “L’Opera” n. 158 July-August 2001 Verona: “… A triumph for the female interpreters, in particular Daniela Barcellona, with an excellent uniformity of emission and sensitivity…” Roberto Mori “Il giornale” 8 July 2001 Milan: “… Among the soloists, the mezzosoprano Daniela Barcellona was absolutely exceptional: a rich, mellow, controlled and sympathetic voice, with good vibrato, free of the “visceral” and extremely attentive to the “emotional quality of the words”…” Alberto Cantù La donna del lago – Pesaro Palafestival 12-15-18-21-23 August 2001 “La Repubblica” 14 August 2001 Those bellicose warriors in love with bel canto “… who believes is Juan Diego Florez … as does the excellent Daniela Barcellona in the travesti role of the lover predestined to conquer his rivals …” Michelangelo Zurletti “Il resto del Carlino” 14 August 2001 A romantic plunge in Rossini’s lake “… Daniela Barcellona and Juan Diego Florez, two young talents who seem to have sprung from a miraculous generation. Their singing has a virginal power which consists of technical mastery, an attention to the meaning and imprevisibility of words, together with countless shades and colourings…” Lorenzo Arruga “… Daniela Barcellona triumphed over all, garnering enthusiastic acclaim as a star of the first order…” Ivana Baldassarri “L’Arena” 14 August 2001 A fabulous Rossini labelled Ronconi “… not to mention mezzosoprano Daniela Barcellona, rising star of Rossinian bel canto, who was simply brilliant…” Piero Ferrari “Il Messaggero” 14 August 2001 With Ronconi, La donna del lago appears in a different light “… In Malcolm’s travesti role, Daniela Barcellona fully confirmed her acting qualities which won our admiration two years ago in Tancredi…” Luca della Libera “La Stampa” 14 August 2001 A staggering Donna del lago “… contralto Daniela Barcellona instils the warrior Malcolm with a personality which Rossini apparently left to the interpreter’s skills. The role is not of the highest level, and with its grey areas La donna del lago is not Semiramide. But when sung like this, with such a dark and sensual timbre and full-throated, almost unsettling trills, Malcolm becomes a character worthy of the regal lionesses of opera.” Paolo Gallarati “Il giornale” 14 August 2001 Pesaro enchanted by Ronconi’s inspiration “… naturally all the rest was done by the music. Gentle, tormented, captivating, traversed by sensual and warlike thrills and spasms, it found its best and most enthralling interpreters in Daniela Barcellona and Juan Diego Florez, the “pupils” of Pesaro, whose artistic careers began and were first (and rightly so) acclaimed here. In Malcolm’s role she was astounding in the celebrated and daunting “Mura felici”…” Paolo Scotti “L’Unità 14 August 2001 In Rossini’s “Lago” Ronconi unveils the horrors of mankind “… Daniela Barcellona (Malcolm), reaching deep down within herself, exalted her contralto voice…” Erasmo Valente “Il tempo” 14 August 2001 Luca Ronconi’s dreamlike Rossini “… not to mention mezzosoprano Daniela Barcellona (Malcolm), rising star of Rossinian bel canto, with a voice as splendid as that of the soprano Mariella Devia…” Piero Ferrari “Corriere adriatico” 14 August 2001 BARCELLONA LADY OF THE ROF In the post-festival “rush” of fans and photographers “… Daniela Barcellona, who enjoyed yet another effortless triumph in the career of a great star. In Act I, at the end of the recitative and cavatina, Malcolm was greeted by a burst of applause: she is definitely the new leading lady of the Rossini Opera Festival. At the end of the opera, in the al fresco cool of the Ratti garden, her table was literally besieged by fans and journalists. Though she could flaunt her talents, she has a sensibility generally not found among less gifted and more conceited performers. It’s a pity she won’t be in Pesaro next year (she’ll be singing in Salzburg)…” Gianluca e Luciano Murgia La donna del lago enchants the Palafestival “… and alongside Florez, a thrilling Daniela Barcellona, a mezzosoprano and contralto gifted with an intense and seductive voice. In this occasion, she seemed to fully incarnate the profound meaning of the score…” Fabio Brisighelli “AVVENIRE” 14 August 2001 A romantic Ronconi for Rossini “… we don’t know how to rank the three main roles, since they each contributed equally to the opera’s success… Mezzosoprano Daniela Barcellona’s rigorous fioritura and the richness of her timbre…” Virgilio Celletti “IL GIORNALE DI VICENZA” 14 August 2001 A convincing production and a solid cast in Pesaro “For this La Donna del lago, the Rossini Opera Festival recruited the best singers available… Not to mention mezzosoprano Daniela Barcellona (Malcolm), rising star of Rossinian bel canto, who was simply brilliant…” Piero Ferrari “El Mundo” 14 August 2001 “As expected, Daniela Barcellona and Juan Diego Florez were sublime…” Ruben Amon “Il Manifesto” 14 August 2001 A romantic Ronconi “… Daniela Barcellona admirably exploits to the full her excellent timbre and virtuosa talent in Malcolm’s elegiac role…” Arrigo Quattrocchi “Il giornale di Vicenza” 28 August 2001 Rossini, the permanent rediscovery “… this production of La Donna del lago included a number of affirmed bel canto stars, two of which were especially worthy mention: the tenor… and the mezzosoprano Daniela Barcellona. Exquisitely, wonderfully, daringly Rossinian voices, without which a festival of this kind would be impossible…” Cesare Galla “Amici della Musica” September 2001 “… fortunately Malcolm was interpreted by Daniela Barcellona, with perfect, thrilling and moving musicality and style. It was worth seeing just for her…” Roberta Pedrotti “L’Opera” n. 154 – September 2001 “… A wonderful setting for a performance with many equally wonderful elements, starting with Daniela Barcellona’s Malcolm. Her singing is mellow, polished but supple and dense with feeling. The second aria, especially, enabled her to display the full range of her character, with its touching intimacy and bold pride…” Davide Annachini “Musica” n. 129 – September 2001 “… Another important mezzosoprano was Daniela Barcellona in La donna del lago staged at the Palafestival. Many spectators still retain an indelible memory of Lucia Valentini Terrani in Malcolm’s role, but I personally feel that Barcellona surpasses her in terms of her powerful volume and natural projection. The freshness, ease and eloquence of her singing in each scene were really quite disarming, and she truly deserved the ovations she received.” Stephen Hastings “OperaClick” In Pesaro, a memorable Donna del lago “Daniela Barcellona is the only performer who has been able to fully reconcile the demands for virtuoso singing with the epic nature of her role. Mistress of both the stage and her intimidatingly majestic body, she portrays a historic Malcolm who is a perfect classical synthesis of hero and lover. Her voice is dense as marble; the clarity in the vocalisation (to which the extreme compactness of her voice gives an almost “ballistic” quality), a rapturous sense of rhythm and a legato like black velvet in the cantabili are the elements of what is perhaps the best Malcolm ever, and a definite advance over the, by now, legendary performances of Valentini and Dupuy.” Matteo Marazzi Stabat Mater – Pesaro Palafestival - 24 August 2001 “L’Opera” n. 154 - September 2001 “Daniela Barcellona was in top form, confirming her excellent vocal abilities …” Giancarlo Landini “Il resto del Carlino” 26 August 2001 The profound dimension of the “sacred” Rossini “… Daniela Barcellona, who always shines thanks to her wonderfully innate projection and the “pathos” in her shadings, is fully deserving of the unconditional acclaim she always receives…” Ivana Baldassarri “Corriere Adriatico” 26 August 2001 The ROF closes in grand style with Stabat Mater “… the performance was perfect. Thanks to an exceptional cast, starting with tenor Juan Diego Florez and mezzosoprano Daniela Barcellona, two bel canto artists who were in Pesaro in past seasons” Stabat Mater – Palermo Teatro Massimo – 14 November 2001 “Prometheus” n. 13 – 26 November 2001 “… A great crowd-pleaser at the Teatro Massimo in Palermo… The soloists demonstrated remarkable vocal ability… Daniela Barcellona, acclaimed at the ROF for her astonishing interpretations of Tancredi and Malcolm, demonstrated a complete mastery of specific skills for which she has few rivals …” Luciano Landolfi Recital – Trieste Teatro Verdi – 9 December 2001 “Il Piccolo” 11 December 2001 Daniela, a genuine prima donna Opera-lovers, remember this name: Daniela Barcellona, mezzosoprano from Trieste. She is destined to become a number 1, and perhaps she already is. On Sunday evening she had the audience clapping its hands raw. The audience, while not large, had braved a cold and windy evening in order to see her at the Verdi Opera House and was therefore very favourably inclined towards the young singer. Mrs Barcellona’s concert was organised by the Association of Organ Donors and the “Giulio Viozzi” Opera Lovers Association of Trieste. She presented a double programme: the first part was dedicated to bel canto and Rossini, with a rare piece by Vivaldi, Haendel’s Rinaldo, the well-known lament from Gluck’s Orfeo ed Euridice, and Malcolm’s aria from La donna del lago, “Mura felici”, while the second part was completely French (including the seduction aria from Saint-Saens’ Samson et Dalila, and selections from Thomas’ Mignon and Donizetti’s La Favorite in the original French version). What else is there to say about Daniela Barcellona? With a voice like hers she can do whatever she likes: from the most daunting agilities, to sustaining the longest and most complex legato phrases, or singing in high or low registers. Her voice, as they say, is all of a piece, perfectly uniform in color and timbre. Moreover, she can captivate the audience with her verbal recitation and hypnotise it with the skilled play of her hands. In short, we are in the presence of an authentic “stage animal”, as this concert confirmed. She was accompanied at the piano by another Triestine, Alessandro Vitiello, whose playing is not merely at the service of the singer (who also happens to be his wife). It is a dialogue between a knowledgeable and sophisticated musician and a distinguished artist. Each piece was greeted with wild applause. There were two encores: “Habanera” from Bizet’s Carmen, perhaps the most impressive piece of the evening, and once again Rossini: “Di tanti palpiti” from Tancredi, which provided a very successful conclusion to the concert. We haven’t been thrilled like this by a prima donna at the Verdi Opera House for a long time. Rino Alessi Opening Gala – New York Metropolitan Theater - December 2001 From L’Opera n. 157 - January 2002 “… as Maddalena, Daniela Barcellona made an impressive debut at the Met, showing what an important singer can do in roles often considered minor. She had us drooling in anticipation of her upcoming Adalgisa…” Patrick Dillon |