This late career move to baritone roles has been a bold choice and here is another instance of when the risk has certainly paid off handsomely. It is as if Domingo’s voice is another instrument in the orchestra, so perfectly does its rich timbre enhance the sheer beauty of the music. It is a physical performance that utterly transcends the stand and sing approach of so many lesser performers. Giorgio Germont can be played as a cold, unfeeling man, but as scene one of act two progresses, Domingo shows the pain of Germont’s actions to be written right across his body. Not only is Domingo still in excellent voice, not to mention physically agile, but his years of experience bring an emotional depth to the role. To be still at the top at 72 would be incredible in any career, let alone the competitive world of opera, where the vagaries of public and administrative taste, let alone stress on the voice, can cut short even the most promising talents. Placido Domingo has come full circle with La Traviata, returning to play the father in an opera where he achieved great acclaim as the son.
Sold out well in advance, the chance to see opera’s living legend in action proved irresistible to thousands of ticket buyers, and their faith has been very well rewarded. Sublime singing characterizes this superb performance, with the understated brilliance of Willy Decker’s iconic 2005 Salzburg staging thrown in for good measure.
0 kommentar(er)
