An all Verdi vocal event!
From –La Forza del Destino
Duet – Solenne in quest’ora – Tristan/Claudio
From – Il Trovatore:
Duet : Udiste-mira di acerbe lagrime – Vismaya/Tristan
From – La Traviata
Ah, forse lui – Hanna
From – Un Ballo in Maschera
Volta la Terrea – Emily
Eri tu – Tristan
Saper Vorreste – Emily
From – Il Trovatore:
Duet – Miserere – Vismaya/Claudio
From – Otello
The Willow Song – Hanna
From – Macbeth
Come del ciel precipita – Jeff
La luce Langue – Vismaya
Pieta, rispetto, amore – Tristan
Duet Ove son io – Vismaya/Tristan
(Trio) Deserto sulla Terra – Vismaya/Claudio/Tristan
Performers:
Hanna Socorro – soprano
Emily Crawford – soprano
Jeff Jones – Bass
Claudio Santomé- tenor
Tristan Robben – baritone
Vismaya Lhi – spinto soprano/artistic director
and Dwight Okamura – pianist
A note from the director…..
One of the most beloved composers of the nineteenth century, Giuseppe Verdi was a genius – a politician and an artist, all combined in the same person.
His creation offers an example of a realistic and deeply felt human art.
There is no opera house in the world that does not know Verdi’s works.
Giuseppe Verdi (full name Giuseppe Fortunino Francesco Verdi) was born on October 10th, 1813 in Roncole, in northern Italy.
Much has been written about Giuseppe Verdi, histories and biographies, erudite analysis of his musical constructions (both pro and con), dissections, reassessments and interpretations of his characters etc., etc. Any singer will tell you that his operas make serious demands on the voice – the roles require stamina, agility and, in my view, an astute understanding of pulse. Though some have deemed the many cantering and/or waltz rhythms of his compositions uninteresting, my own feeling is that if you study the details closely, you find that what Verdi is asking for from each phrase requires something unique, a slight variation in delivery, a certain change of emphasis, a difference inside the compression of his many rubatos to achieve the feeling he is attempting to paint. Far more than the steady beat of a metronome, one needs a great deal of skill and insight to understand how he makes use of time.
I hope this concert shows something of what I’ve always loved about his operatic music: the great affection he shows for all kinds of voices and his ability to write for their unique capabilities, the insightful appreciation he shows for each of his characters and the egalitarian, deeply human nature of his compositions.
He includes us all….
-Vismaya Lhi, artistic director