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Press Room 2003
Tancredi - Trieste Teatro Verdi 24-26-29-31 January - 2 February 2003 “ L’Opera” n. 169 - February 2003 Rossini’s warrior Trieste: Tancredi is back at the Verdi Opera House. Daniela Barcellona is the excellent lead, with a sparkling voice and a rich theatrical power and temperment. “… The performance in Trieste was tailor-made for Daniela Barcellona, the most admired Tancredi going after the stunning debut at the Rossini Opera Festival in 1999. And, indeed, Barcellona confirmed herself to be the excellent artist we know and cherish. An extremely talented and musical singer, the Triestine mezzosoprano displayed her captivating and uniform timbre, sparkling agilities and the precise scansion and articulation of her words. Her acting abilities should also not be underestimated, as indicated by the power and tone of the finale…” Rino Alessi “Il Piccolo” 26 January 2003 Tancredi, Rossini’s tormented enchantress Impeccable performances by Daniela Barcellona and Mariola Cantarero “A perfect cast, starting with the female interpreters. Daniela Barcellona offered an impressive performance, utterly convincing in the role of the hero, with a full-bodied vocal line, outstanding in the highs, velvety in the middle register…” Claudio Gherbitz “Opera international” n. 277 - March 2003 “… Imperious as she is, Daniela Barcellona does not try to show off her gorgeous voice, but incarnates a totally introspective Tancredi, fluent in legato, with incisive accents, noble recitatives and an admirable dramatic emphasis …” Gianni Gori La donna del lago Lièges, Opera Royal de Wallonie – 23-25-27 February and 1 March 2003 Bruxelles, Palais des Beaux Arts – 5 March 2003) “Le Soir” 4 March 2003 The lady of bel canto “… An ample, warm low register, a voice uniform in all combinations, a priceless virtuosity that never obscures her vocal color… We are evidently in the presence of one of the finest performers in this genre today. I adore bel canto, says Daniela Barcellona. It is a repertory that restores to expression all its powers. And for me, expression is the very basis of singing. A singer may excel in the most fabulous vocal acrobatics, but if their performance lacks expression, the emotion is missing and the music loses impact. Instead, if the singing is expressive, then it all becomes clear and the proper style will emerge on its own…” Serge Martin “L’opera” n. 171 – April 2003 Lieges - Despite the stage direction, Daniela Barcellona and Rockwell Blake made a success of the “quasi romantic” masterpiece of the artist from Pesaro at the Opéra Royal de Wallonie… “… Thundering applause for Daniela Barcellona’s debut in loco in a part she has already made her own. A travesti role which is perfectly suited to her acting abilities and which she sings ravishingly, from the nostalgic tones of “Elena! Oh tu, che chiamo!”… Like Blake, she is a virtuosa of recitatives and her articulation is immaculate. Always in full control over her luxuriant vocal organ, she merits admiration for the uniformity of her richly timbred registers, her colour, singing line, legato and flawless technique, from the most perilous high to the fullest, most rounded low…” Jorge Binaghi “La Nazione” – “Il giorno” – “Il Resto del Carlino” “The Triestine singer was received with admiring reviews. The French language daily Le soir gave her the Italian title of “La donna del bel canto” and praised her “matchless virtuosity”, concluding that we are obviously in the presence of one of the finest interpreters in this genre today”. Stabat Mater – La Coruña 19 March 2003 “Opera Actual” n. 61 – June 2003 “… Daniela Barcellona, a top-flight mezzosoprano, was the authentic star of the Pesaro Festival with her velvety voice of a beautiful topaz color…” Giulio Cesare - Bologna Teatro Comunale – 6-8-10-13-15-17 April 2003 “Il Resto del Carlino” and “La Nazione” 8 April 2003 “… Daniela Barcellona’s command of both music and stage endowed Caesar’s role with the status of a leading character, in terms of both expression and virtuosity…” Adriano Cavicchi “L’Unità” 8 April 2003 “… Daniela Barcellona offered a stately Giulio Cesare, with all the requisite vainglory of the “dictator”…” Rubens Tedeschi “Il Manifesto” 8 April 2003 “Giulio Cesare is, of course, a contralto and Daniela Barcellona gives vocal power and physical assertiveness to this role…” Gianfranco Capitta “L’Opera” n. 172 - May 2003 Julius Caesar came, saw and conquered “… In Bologna we were able to enjoy a truly ideal cast, which included Daniela Barcellona excelling in the main role. She has become indispensable in travesti roles, thanks to her physique and the naturalness with which she interprets male roles without ever slipping into caricature. Her acting style is vehement but always controlled, her voice full, rounded, timbred and uniform and her stage presence is clearly defined. Perhaps her trills lack an adamantine clarity, but the articulation of the agilities, her incisive phrasing and the nobility of her singing gave us a perfectly executed Giulio Cesare.” Andrea Merli “Gli Amici della Musica” April 2003 Julius Caesar between colossal and great opera seria “… Daniela Barcellona, as Cesare, offered another demonstraton of her interpretative skills. Her Cesaare is a self-confident and cunning warlord, a mature and passionate man who succeeds in discovering a certain pompous irony in the coloraturas of “Va tacito e nascosto”, elegantly deriding Tolomeo’s intrigues and betraying just a hint of aristocratic annoyance when the horn declines to pursue the daring duel in cadenza.” “Drammaturgia” - 19 April 2003 “In Gianni Cicali “Il giornale della Musica” April 2003 Baroque and Hollywood “… Daniela Barcellona is a star who shines like very few others. Her singing – now heroic, now virtuoso or pathetic – is always perfect and her accents are intense. Her burnished color, which is that of a genuine contralto, would be enough to gratify the most demanding listener. Technique and taste do the rest…” STABAT MATER- LA CORUÑA 19 APRIL 2003 “Opera Actual” n. 61 – June 2003 “… Daniela Barcellona, a top-notch mezzosoprano, was the authentic star of the Pesaro Festival with her velvety voice of a beautiful topaz color…” RINALDO – LECCE Teatro Politeama – 2-4 May 2003 “Corriere della sera” 17 May 2003 Rinaldo, baroque splendour … The cast includes Daniela Barcellona as a magnificent Rinaldo… everything contributed to make this a very pleasant evening indeed in Lecce … Enrico Girardi From L’Opera n. 173 – June 2003 Baroque magic A splendid Daniela Barcellona in the lead role “… It’s worth stressing that the characters were portrayed in an exemplary fashion. We need only mention the aria “Cara sposa” impressively sung by Barcellona with a voice as flexible as it is sumptuous…” Nicola Sbisà “Nuovo Quotidiano di Puglia” With Rinaldo a magnificent finale “… Among the cast, Daniela Barcellona, the young Triestine mezzosoprano who in a very short time has become one of the golden “songbirds” of the international stage, was outstanding … Musically speaking, Barcellona excelled in Rinaldo’s travesti role, thanks to the beauty of her timbre, wonderful suppleness and her exacting style and musicality.” Eraldo Martucci “La gazzetta del Mezzogiorno” Rinaldo on the field “… On the platforms set in motion by “dumbwaiters”, the paladin Rinaldo rose with very theatrical gestures and body movements. The role was sung by Daniela Barcellona, a mezzosoprano gifted with great vocal skills and an extraordinary stage presence…” Gloria Indennitate “Corriere del Mezzogiorno” Welcome to the theatre of wonders “… Pizzi dresses the valiant Rinaldo in blue, the travesti role interpreted by a magnificent Daniela Barcellona, a mezzosoprano tending towards contralto, who has it all: personality, quality of phrasing, diction and pitch. Another role, another triumph.” Francesco Mazzotta Tancredi – Tokyo, 1 June 2003 Osaka, 5-7 June 2003 “Mainichi Journal” 6 June 2003 Top-notch artists, magnificent singing “… I was even more moved by the high quality of all the soloists, and most especially Daniela Barcellona who sang the title role…” Takayoshi Nakamura “Il Piccolo” 8 June 2003 and “L’Opera” n. 174 - July/August 2003 Trieste conquers Japan A success for singers “Made in “… The performance focussed around Daniela Barcellona, the most admired Tancredi going after her fabulous debut at the Rossini Opera Festival in 1999. And she was up to the challenge, once again proving herself to be the superb artist we all know and cherish. An extremely talented and musical singer, the Triestine mezzosoprano displayed her captivating and uniform timbre, her luminous agility and the precision of her scansion and articulation. Her acting abilities should also not be underestimated, as demonstrated in the vehemence and temperament of the finale, which was given in the tragic version that Rossini wrote for the revival of the opera in Ferrara in March, 1813, and which is stunning in its unadorned concision …” Rino Alessi Tancredi (La Coruña – 3-5 July 2003) From L’Opera n. 175 – September 2003 Acclaim for Tancredi “Il vivo lampo di quella spada” at the Mozart Festival “… Daniela Barcellona convinced all present with her skill in creating believable characters and her perfect musical interpretation of the title role. Her coloratura was technically excellent and her sudden leaps in the high range were spectacular.” “Her voice blended marvelously with that of Maria José Moreno (Amenaide), resulting in splendid duets.” Marcelo Cervellò-Eroles “Opera Actual” n. 63 – September 2003 “Daniela Barcellona gave a very personalised interpretation of Tancredi. An accomplished and very expressive actress, she revealed the essence of her character’s personality through her vocals … The last scene, before Tancredi’s death, was very dramatic, climaxing in an emotional finale with a recitative interrupted by a pianissimo that faded out imperceptibly in her final whispers. In the beautiful duets performed by the two leads, the dark timbre of the Italian mezzosoprano blended perfectly with Maria José Moreno’s voice, creating a wonderful effect.” José Victor Carou “Opernwelt” September – October 2003 “[Daniela Barcellona]… has instead gained greatly in technical power, expression and the ability to act in pre-romantic roles. The Italian mezzosoprano was absolutely superb in the farewell scene with Amenaide.” Franz Anton Cramer Semiramide Pesaro Palafestival 8-11-14-17-19 August 2003 “Il Messaggero” 9 August 2003 Prolonged applause and great acclaim for the premiere of Semiramide, which opened the Rossini Opera Festival last night at the Palafestival. Darina Takova as Semiramide and Daniela Barcellona in the role of Arsace were especially convincing…” “Il resto del Carlino” 10 August 2003 Mid-scene applause for Daniela Barcellona “… Daniela Barcellona, a convincing and highly acclaimed Arsace…” Ivana Baldassarri Triumph for Semiramide, but catcalls for the director “… while the staging proved to be controversial, the music triumphed, especially for the four leads… including a dramatic and super-virtuoso Daniela Barcellona…” Adriano Cavicchi “L’Unità” 10 August 2003 “… Daniela Barcellona (who has restored us Arsace and Nino) is stupendous in these male roles…” Erasmo Valente “Il Giornale” 10 August 2003 “… it’s a pity that all this pointless sparring distracts from the positive side of the evening: the musical performance. In fact, this production reunites the splendid duo Takova-Barcellona, from Pizzi’s magical Tancredi: suave, gentle and flawless the former (Semiramide), pyrotechnical but solid the latter (Arsace)… Final ovations for all. Except the director, of course.” Paolo Scotti “Corriere Adriatico” 10 August 2003 A superb cast in a contemporary setting “… that “cantar che nell’anima si sente” expressed by Arsace in the opening aria (a gorgeous Daniela Barcellona who draws out her character’s “hidden accents” with sombre clarity)...” Fabio Brisighelli “Gazzetta di Parma” 10 August 2003 A science-fiction Semiramide “… it is thus an extremely difficult opera, requiring a vocal mastery that only a select few among today’s singers can muster. Daniela Barcellona is definitely among this select group and in Arsace’s travesti role she displayed unquestionable authority, which was both technically accomplished and poetical in its interpretation. Gian Paolo Minardi “L’Arena” and “Il Giornale di Vicenza” 10 August 2003 “As regards the cast, a resounding triumph for a travesti Arsace interpreted by Daniela Barcellona, who goes through the role’s arduous coloratura with natural ease and absolute precision…” Cesare Galla “La Repubblica” 11 August 2003 “… among the singers, Darina Takova and Daniela Barcellona were acclaimed unreservedly…” Michelangelo Zurletti “Il Messaggero” 13 August 2003 From an interview with Darina Takova by Claudio Salvi … and working with Barcellona? “Fantastic, she’s excellent. I’ve sung with her often and we have extraordinary empathy: a perfect correspondence. If I could only work with singers like her all the time...” “Opera Actual” n. 64 – October 2003 “The queen of the evening was Daniela Barcellona, with her astonishingly suave expressiveness. Her opening aria was absolutely fabulous and she sang the three duets with a purity that was non pareil.” Roger Alier “Corriere Adriatico” 13 August 2003 Semiramide: ovation for Daniela A heartfelt applause greeted the end of the second performance of Semiramide on Monday evening at the Palafestival. A real ovation for Daniela Barcellona (Arsace)… “Gli Amici della Musica” August 2003 Report from the stage “… Daniela Barcellona’s Arsace was definitely unforgettable and the real triumph of the evening thanks to her absolute mastery of Rossini’s score and style. She quite rightly uses these elements as a vehicle for expression, and her vocal and stage authority is such that she makes us forget everything else Kaegi forces her to do…” Roberta Pedrotti “Opera International” “Daniela Barcellona garners a personal triumph in Arsace’s travesti role. She endows her character with all of his pride, and her performance is distinguished by a great technical mastery and command of bel canto style…” “MusiCultura” VINTAGE ROF The ROF crowns Daniela Barcellona “queen” of the 2003 Festival This edition proclaimed mezzosoprano Daniela Barcellona queen of the Festival. No newcomer to Pesaro, where her star qualities have been recognised for some time now, she was at her best in Arsace’s difficult role, never weakening even once throughout the entire four-hour long Semiramide. Silvana Scaramucci “Opernglas” “… Daniela Barcellona’s interpretation of Arsace’s role was once again incredible. With each male role, she confirms herself as the Prima donna in this Rossinian specialty which, by now, has very few practitioners. The opening aria “Eccomi alfine in Babilonia” provoked a storm of enthusiastic applause such as is rarely heard at the Palafestival. And she maintained this level throughout the entire performance. With her beautiful timbre she passed from the lower register to soprano notes with the ease of a true virtuosa.” P. Koenig “La Gazzetta di Parma” “… an extremely difficult opera, requiring a vocal mastery that only a select few among today’s singers can guarantee. Daniela Barcellona is definitely among this select group and in Arsace’s travesti role she displayed unquestionable authority, which was both technically accomplished and poetical in its interpretation.” Gian Paolo Minardi STABAT MATER – Pesaro Palafestival, 21 August 2003 From “Gli Amici della Musica” 2003 ROF closes with a sublime performance of a sacred masterpiece Daniela Barcellona reigned supreme. She was perfect, capable of moving the audience with her intense phrasing and legato, and with extremely fine and uniform projection. She is the perfect embodiment of Rossini’s “Cantar che nell’anima si sente”. Roberta Pedrotti “Grandi della lirica” Award Modena, 21 September 2003 “Avis Notizie” n. 4 - November 2003 “… This perfect performance culminated with the participation of the renowned Triestine mezzosoprano, Daniela Barcellona, who was awarded the title of “Grande della Lirica” (past winners include Mirella Freni, Nicolaj Ghiaurov and Franco Corelli). Barcellona was presented with a bas-relief depicting the Dome and Ghirlandina, symbols of Modena, executed by the renowned artist and fellow Modenese, Tomaso Bonantini. Due to illness, the artist could not be present and the work was presented by his daughter, Mrs. Anna Rita…” “The highpoint of this beautiful afternoon of music was Daniela Barcellona, the guest of honor, who performed three pieces to an enthusiastic reception and repeated requests for encores, which she willingly complied with. After warmly thanking those present, she sang from La Favorite (French version), Tancredi and Carmen. The audience was literally enthralled with her voice’s warm, mellow colouring that passes from the velvety burnished tones of the low register to the flashing gleams of the highs, with sparkling coloratura. Her solid technique guarantees a uniform emission and perfect legato in each area of the pentagram, while her absolute adherence to the lyrics and mastery of emotional pathos are also worthy of note. She was accompanied at the piano by her husband and teacher, Maestro Alessandro Vitiello, also from Trieste. A celebrated pianist and conductor in his own right, he gave each piece just the right tone, providing a perfect complement to Daniela Barcellona’s singing…” Franca Vittoria Verardi L’Italiana in Algeri Rome - Teatro dell’Opera 22-26-28-30 October 2003 From “Il Messaggero” The vocal team for Italiana is an all-star lineup… Daniela Barcellona’s Isabella is remarkable both musically and technically …” Al.G. “La Repubblica” 27 October 2003 “… a top-notch company of singers… and though Daniela Barcellona is not particularly suited to her role, she still has a beautiful voice and flawless coloratura…” Michelangelo Zurletti “Musica Exite” 27 October 2003 “… Daniela Barcellona is impeccable as Isabella: a confident and beautiful voice, blessed with a very wide range…” Attalea “L’Opera” n. 177 – November 2003 Playing…Italian style! “With whom should we begin? Out of gallantry and patriotism let’s start with the “Italian” for whom the opera is named, Daniela Barcellona. Although her imposing physique is more suited to travesti roles in dramatic rather than comic operas, Isabella is ideal for her voice. While her singing was not as deep-voiced as usual, and the agilities were clear but less peremptory, she was still more than capable of creating a wonderful Isabella. Barcellona’s acting is also worth mentioning. Though nearly 6ft tall she moves with the lightness and grace of a ballerina and uses her physique to ironic advantage to interpret her assertive and vigorous character, making for a perfectly plausible Isabella.” Mauro Mariani Concert in memory of Mother Theresa in the Vatican 26 October 2003 From Radio vaticana – Radionews A large audience at the concert in honor of Mother Theresa, which was given yesterday afternoon in the Vatican, in the Paolo VI Hall. “… Daniela Barcellona, one of the most distinguished and renowned mezzosopranos in the world, with a richly coloured voice and flawless agilities…” Don Luca Pellegrini From L’Opera n. 177 – November 2003 “The oratorio enjoyed a superb performance, with Gianluigi Gelmetti conducting Opera House Orchestra and Choir and two superb singers: Daniela Barcellona, the purest of voices, free of any human flaw …” Mauro Mariani Recital – Washington 6 November 2003 “La Nacion USA”13 November 2003 The Italian Embassy aglow with Daniela Barcellona’s triumphal recital One of today’s great opera singers A RARE AND MEMORABLE VOICE “… The Italian Embassy was “invaded” by the priceless voice of one of its finest exponents, delighting the select audience with a sensational repertoire. Vivaldi (Griselda), Handel (Giulio Cesare), Gluck (Orpheo ed Euridice), Saint-Saens (Samson et Dalida) and Donizetti (La favorite) were among the composers included in this triumphant recital by Barcellona, who was accompanied on the piano by her husband, Alessandro Vitiello. The Italian mezzosoprano did not neglect her favorite composer, Rossini, choosing for the occasion “Mura felici” from La donna del lago. Daniela interpreted romantic themes with eclecticism and mastery. An operatic recital with only piano accompaniment is a risky proposition. All the flaws and limitations of a voice are exposed, and cannot be concealed by an orchestra, the dynamics of which a skilled conductor can manipulate when the need arises. Barcellona’s voice can be classified as “medium high” and with her light and attractive timbre this characteristic appears in all its splendour. Vocal intensity and sensuality Using Vivaldi and Haendel to warm up her voice, Daniela gained the audience’s attention. She finally showed us what she can do with “Mura felici” from La donna del lago. In the second part, her interpretation of “Connais-tu le pays?” from Thomas’ Mignon was pure class. She also excelled in “Acerba voluttà” from Adriana Lecouvreur and in “Mon coeur s’ouvre à ta voix” from Samson et Dalila. These selections were full of rounded tones and sensuality thanks to the piano-inspired intensity. To conclude the programme, she displayed an excellent bel canto style in the aria from La favorite, with a splendid finale that left the audience enthralled and longing for more. Ariadna Alvarado |