Svetla vassileva sexy


But already this young basso's legato, portamento and exquisite articulation brought to mind the great Ruggero Raimondi and made one wish to hear Ellero D'Artegna again soon.We can, as it turns out: He is singing the role of Timur in "Turandot" at the War Memorial Opera House.Scenografie essenziali sul palco, linee e volumi opulenti nel parterre in una sfilata di gioielli, ricami e pellicce da gran sera.Platea di appassionati e addetti ai lavori, ieri, per "Rusalka" di Antonìn Dvorak, diretta dal maestro Eivind Gullberg Jensen, che ha sostituito l'annunciata "Aida", con Riccardo Muti come evento di apertura della stagione d'opera e balletto, al Teatro Costanzi.Una proposta forse "audace" per il palco romano, in una messa in scena senza sfarzi, che non è stata premiata da presenze istituzionali.A pesare è stata soprattutto l'assenza del Capo dello Stato, Giorgio Napolitano, habitué delle prime all' Opera.

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Thanks to all the people and players who have supported us along the way...Also from "Lakme," the showstopping Bell Song did just that when Laura Claycomb sang it under Runnicles's sensitive direction.The former Adler Fellow, who is currently starring as Fiakermilli in "Arabella," has everything one could wish for in Delibes' exotic heroine: a velvet column of sound that was definitely more Sutherland than Robin, unerring pitch and dead- on attacks in coloratura that was as dazzling as it was gentle.A peek at next summer's "Ring of the Nibelung" at the top of the bill set a tone of excitement, with Runnicles leading a wild "Ride of the Walkyries." Svetla Vassileva was spectacular in Liu's touching "Signore, ascolta" from "Turandot." Puccini's little slave girl is so often sung by nice sopranos with bland personalities that it is easy to forget that the best interpreters of the role -- think of Anna Moffo, Renata Scotto or Galina Vishnevskaya -- have been distinctive, gutsy divas.

Vassileva, a young Bulgarian bomb shell making her San Francisco Opera debut this season in"Turandot," sang from the heart: Her emotional commitment to the role and her fearless musicality spoke volumes about Puccini's beloved last heroine.

Judith Forst fared much better, saucily singing the praises of military men in Offenbach's "The Grand Duchess of Gerolstein." Francesco Ellero D'Artegna sang and conquered with the monumental "O tu, Palermo" from Verdi's "I Vespri Siciliani." The Verdi aria was splendid, not least for its promise.



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