Profiel beoordelingen
2But his Adina, Sarah Joyce Cooper, is something else again, her voice sizable and beautifully produced, the high notes never shrill, the low ones full-bodied, the occasional trill limpid and unforced. She sings with a passionate power that should soon lead her to the roles of Verdi. Moreover, she is a pretty woman and a charming actress.
Werley and the lovely soprano Sarah Cooper were so perfectly matched in every way that it was impossible not to root for their union—another unusual aspect of this production. Cooper’s meltingly beautiful soprano shimmered to perfection in “Je dis que rien ne m’épouvante,” and she and Werley shared genuine warmth and affection in their Act I duet.
Eerdere productierecensies
1A triumph of economy and theatrical flair, each performance featured a selection of eight singers (from a total company of 27) and nine musicians in the echoing grand entrance hall and stairs, a small peacock-infested drawing room, and on a festive stone patio. These locations invited listeners to enter the world of one of six possible Violetta Valérys (Alisa Cassola, Sarah Joyce Cooper, Carina DiGianfilippo, Mary Johnston Letelier, Tamara Ryan, and Shaina Martinez). I had the pleasure of seeing Martinez at a later evening performance on Thursday, October 21st: she was radiant and magnetic in her convincing portrayal of Verdi’s complex heroine. Dressed in pinks and ghostly white satins by Costume Designer Jen Greeke, Martinez floated through the cavernous spaces of the Eustis Mansion, glowing with an unearthly pallor under diffuse stage lights placed to subtly evoke the full moon outside (Lighting Designer Erik Fox).
