TEA TIME
YETE QUEIROZ, mezzo
Marseille Opera,
February 2011
We would miss the appointment The Twilight Teatime , the nightingales of CNIPAL (National Center for Workforce Development of Lyrical Artists). This time, unusually, devoted entirely to the Franco-Brazilian Yété Queiroz and fully sipped through this lovely mezzo, already admired here in the Djamileh Bizet to Pourrières in July 2009 . This time, with the complicity of the piano Nino Pavlenichvili , the singer has made a vast rainbow of music, from Baroque to the American operetta and songs, through the English zarzuela and other Hispanic and Brazilian melodies with equal success. And ours was total.
In vaporous robe shimmering gold lame Pineapple, showcasing her complexion of exotic fruit and intense black eyes, long earrings, she challenges her recital with the beautiful lament " Sposa, his disprezzata ... "without warranty attributed to of Bajazet Vivaldi . Carefully, she cut dramatically expressive breaths major arcs of the aria without destroying the curve but provides some nice trills crescendos and without exposing the perilous yet messa di voce . The stamp is equal, silky, full, free blowing, round voice, soft line is impeccable. Even without touching expression supported drama, a great nobility in the Lamento, the sober and heartbreaking farewell of Dido of Purcell. The ornamentation of da capo are beautiful, bright treble, bass, shady low down on this poignant, but it is not a major criticism to this charming polyglot advise him not too close certain vowels (a, o) of English. After these arie di portamento on the holding of the breath and legato, the third air baroque fury of Sesto in Giulio Cesare Handel, by contrast velocity desired volubly avenging the expressed affect, and further demonstrates the technical mastery and vocal style as much as the gifts as an interpreter of the singer.
green dress, her hair loose, her Hispanic part begins with two traditional pieces beautifully harmonized by the English poet Garcia Federido Lorca delicious Morillas de Jaen a zéjel e fifteenth century, short poem in verse octosyllabic monorhymed by three lines of verse and a chorus, a charming simplicity and a half all soft-tone, excellent fortune teller, she sings with a verve and dazzling colors perfectly the Hispanic Café Chinitas with a biting, sharpness, precision burr-free this true bel canto in English, always even flamenco virtuoso, known as "cantar limpio ',' sing own '. We find these qualities in both extracts zarzuelas, typically English lyrical works ranging from opera to operetta, "Song of the Gypsy" by The alegría del Batallón of Jose Serrano Andalusian with a grace and charm with a smile Madrid, the hot song of Paloma Barberillo Lavapiés of Asenjo Barbieri .
The other two tunes Catalan Xavier Montsalvatje , excerpts from his famous Canciones negras , the adorable "Lullaby for a negro" she sings with a tenderness and fruity "Yambambó" on the poem by the great Cuban poet Nicolás Guillén, had all the color and African Caribbean will those melodies all color and rhythm of Heitor Villalobos Brazil's original, beautiful gift because they are unpublished. New opportunity for the interpreter to show color and halftone varied, malicious, dramatic, down the bewitching Xangô , invocation percussion on the piano, the orisha , god of the pantheon of Santeria, a syncretic religion originating in Africa, naturalized by black slaves in the colonies. This trip ends with Villalobos Samba classico (male Brazilian] love song in Brazil that the singer is clearly in his account: "O my land, my people, my homeland ... "
better when accompanied best Yété Queiroz Nino Pavlenichvili dialogue with her at the piano, sharing musical space as a soloist playing, first, a Sicilian Vivaldi with the dotted eighth note as a poignant melancholy fresh wound, then the Aria any dream of Bach, unrolling a range beautifully beaded, the languid tango habanera of Albéniz and Opening Opera Threepenny Weill.
The sun might turn the heart remained sunny.
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