Vivica Genaux surprised to Farinelli in the Teatro de la Zarzuela

Vivica Genaux

Figure Farinelli It has always been tremendously attractive to the public. A lot had to see the film that Gérard Corbiau devoted, treatment with questionable historical aspects, the famous castrati eighteenth century.

After one of his first works with arias of Farinelli, in collaboration with René Jacobs, now comes the Teatro de la Zarzuela with "Memory Farinelli", American mezzo Vivica Genaux.

With this job, Genaux tries to show vocal evolution of Farinelli. But also the evolution of his own voice. It has done so with arias from different composers, especially Purple. This was not in vain professor of singing Farinelli, who best knew his vocal qualities and composer of many of the arias interpreted it. Genaux demonstrated in this recital a color and timbre of extraordinary beauty, but, especially, a technique and a facility for agility and vibrato which allow you to play fiendish coloratura arias of. That was demonstrated in the first of their interventions, the aria of Nicomedes: "Vo'che amid futore", of the Peter Towers, an aria little known. One realizes to hear why their few performances. This time, Genaux has interpreted the original aria singing Farinelli, more coloratura, not only in the by cappo, but throughout the score.

Other moments of pyrotechnic madness came with the interpretation of the two Farinelli arias composed by his brother, Riccardo Broschi. Delirium came with which closed the recital, aria Arbaces: "Son which ship ch'agitata", with texto de Pietro Metastasio. One of the arias by Porpora, "It is pié allontana", Angelica is Medoro, It was composed for a young Farinelli of 15 years whose voice was closer to that of a soprano Vivica Genaux and plays brilliantly and, as, with its peculiar vibrato jaw.

Les Musiciens du Louvre They have been his accompanying musicians this time directed from the violin Thibault Noally. The Italian Baroque is not the specialty of this orchestral group, It is best it unfolds in the French repertoire, but his work, both the accompaniment of arias, and orchestral works, He has been high.

The night ended with two encores, before the insistent applause, an aria little known Orlandini, and maybe, the most difficult of all night, and a well-known, “Moved by the wind", to the delight of an audience totally surrendered.

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