Sondra Radvanovsky releases debut solo album, tours North America with Dmitri Hvorostovsky

By -

Acclaimed American soprano Sondra Radvanovsky will release her debut solo album, Verdi Arias, on Delos on April 27, 2010, captivating listeners with her supple voice and gracious phrasing. Radvanovsky has been lauded by the London Times as “a true Verdian, with a big, juicy, vibrato-rich sound,” and her collection of prize arias is a highly anticipated reflection on roles past and a preview of those to come.

Sondra Radvanovsky has earned top praises from critics the world over and is welcomed as “the ‘Leonora’ of our time” by the San Francisco Sentinel. She has performed in every major opera house in the world including Royal Opera House Covent Garden, Paris Opera, Teatro alla Scala, Vienna State Opera, Lyric Opera of Chicago, San Francisco Opera, and many others. Her home is the Metropolitan Opera, where she completed her training in the late 1990’s.

The exquisite depth and color of her voice are matched by her artistry and versatility across a remarkable range of repertoire. Radvanovsky has earned accolades for her riveting portrayals of Tatiana in Eugene Onegin and the title role of Rusalka, while her unique flexibility has led to success in such roles as Donna Anna in Don Giovanni. But Radvanovsky’s talent shines most brightly in 19th century Italian opera and particularly in the soprano roles of Giuseppe Verdi. Her signature role is Leonora in Il trovatore, and she has portrayed Elvira in Ernani, the title role in Luisa Miller, and Lina in Stiffelio, among others.

Radvanovsky opened the 2009-10 season with a production of Il trovatore at the San Francisco Opera under the baton of new music director Nicola Luisotti. Her performance prompted the San Francisco Chronicle to declare, “Even if nothing else happens during the rest of the San Francisco Opera’s 2009 fall season, soprano Sondra Radvanovskky has already provided us with at least one extraordinary and indelible musical memory.” This season, she has portrayed Lina in Stiffelio at the Metropolitan Opera under the direction of Plácido Domingo; Elvira in Ernani at the Lyric Opera of Chicago; and Elisabetta in Don Carlo at the Paris Opera. Today, March 20, Radvanovsky embarks on a four-city North American tour with esteemed baritone and her frequent collaborator Dmitri Hvorostovsky. Performances on this tour include Toronto's Roy Thomson Hall (March 20), Montreal's Place des Arts (March 26), Washington, D.C.'s Kennedy Center (March 29), and a final performance in New York City's Carnegie Hall (April 1).

Comments

Anonymous said…
YAAAY! I can't wait! Two things I love- Verdi and Sondra!
Thanks for the info!!

AJ
March 23, 2010 at 4:15 PM
Opera Colorado said…
And don't forget that Sondra makes her debut in the title role of TOSCA with Opera Colorado on April 24. Tickets available at www.operacolorado.org.
March 25, 2010 at 1:32 PM
Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In ...
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more