It was foreboding and created a ghostly atmosphere with the use of the brass.But the standouts of the orchestra were by far harpist Emmanuel Ceysson and Glass Harmonica player Fredrich Heinrich Kern. Ich will weiterhin Mozart singen, die Elettra im „Idomeneo“ kommt 2020 in Berlin, über die Vitellia denke ich noch nach.Es sind vier Rollen, denn die Stella singt auch ein bisschen, und ursprünglich waren die Partien nicht so extrem verschieden, weil Offenbach sie für eine Sängerin geschrieben hat. Not once did the tempi ever feel languid or overdone, particularly in his strettas. Sadly Peretyatko’s cabaletta was a mixed bag with a number of cut notes and questionable fiorturas that lacked in clarity. Sure you may say it was over the top but each phrase sounded like one last breath. The voice, rich in resonance, created a darker sound that emphasized the character’s temperament. From the energy in the hall during the mad scene, there seemed to be more focus on whether the soprano could hit an E Flat (a note that was never written), than on the 20 minutes of fierce intensity that she put into the scene as a whole. OLGA PERETYATKO im Gespräch . It seemed like nerves kicked in and in his cabaletta, Cavalletti continuously anticipated the music singing, ahead of the orchestra.But things improved during his duet with Lucia. It is about communicating the text and music. This was the climax of the opera and it was also some of the best drama the Met stage has seen in the past months.But the opera does not end there. Cavalletti’s Enrico acted out of impulse. However, his voice went thin when he went to his higher register. In his duet with Lucia, one saw a violent figure who was about to hit Lucia and the next moment repent for his action, hiding in the back of his study as Lucia sang her phrases. Why? Als ich „Hoffmann“ in Baden Baden wieder gesungen habe, waren Charles Castronovo und ich ganz verzweifelt, weil nichts so war, wie wir es kannten, und außerdem waren wir mit erstaunlich viel neuer Musik konfrontiert!Ja, und das ist schade, ich bin schließlich Russin, auch wenn ich schon lange weg von zuhause lebe, und das bleibt man auch. In recent years, she further explores heavier roles in bel canto repertoire and more lyrical roles. A variation of some sort was first sung but quickly devolved into something else. I could go on. What made this scene even more unpredictable was the change of character. Additionally, she became more playful on stage and her face took on a smile that permeated throughout.Peretyatko-Mariotti further developed these elements of emotional instability in her scene with Enrico. Before I begin my review, properly, of this absolutely incredible evening, which featured some amazing musical moments, I want to bring up a constant I have seen throughout the past few years at the Metropolitan Opera and many theaters in the world.This season, the Metropolitan Opera presented a chopped up version of “Semiramide” which felt stilted and unbalanced. And OperaWire came about as a desire to take in as much of it and allow the passionate fan base access to everything this wondrous art form has to offer on a daily basis. During the famed sextet “Chi mi frena in tal momento,” the singing actress retained the fragile quality in her voice. Both showed virtuosity in their sections. When it came time go to the stratospheric parts of her voice, Peretyatko sang with ease, the coloratura roulades each got a sense of meaning as she emphasized each word. Sie hat mir gesagt, ich könnte mit meiner Stimme schon eine „Troubadour“-Leonore singen, ich hätte die Mittellage, die sie nie hatte – so hat sie es jedenfalls ausgedrückt.Ja, wenn man denkt, ich wollte vor allem Mozart, Bach und Händel lernen, und wie viel Rossini es dann geworden ist, viele Jahre in Pesaro, bisher elf Rollen, und nächstes Jahr kommt noch die Mathilde in „Guillaume Tell“ dazu.