"she is one of the few sopranos able to cope with this taxing role... makes Renata's strikingly evocative obsession credible, she marshaled an array of colors...warm and elegantly contoured (...) She is also a superb actress." - Classical Music Daily
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Hendrik Vestmann Axel Kober, Conductor
HuanPuccini, G. - Turandot - Turandot-Hsiung Li, Stage Director
Hendrik Vestmann Axel Kober, Conductor
Huan-Hsiung Li, Stage Director
Hendrik Vestmann Axel Kober, Conductor
Huan-Hsiung Li, Stage Director
Hendrik Vestmann Axel Kober, Conductor
Huan-Hsiung Li, Stage Director
Hendrik Vestmann Axel Kober, Conductor
Huan-Hsiung Li, Stage Director
Giordano - Andrea Chenier - Maddalena de Coigny
St Gallen Festival
Modestas Pitrenas, Conductor
Rodula Gaitanou, Stage Director
debuts with La Monnaie de Bruxelles, Teatro Massimo di Palermo and Deutsche Oper am Rhein as Turandot, with Staatsoper Stuttgart and Staatsoper Hamburg as Tosca.
Return to Teatro dell'Opera di Roma as Mother Marie Dialogues des Carmélites and as Renata The Fiery Angel, return to Prague National Theatre as Turandot, Tosca with Norwegian National Opera, Wrocław Opera, Staatsoper Hannover, debut at St. Galler Festspiele as Maddalena de Coigny Andrea Chenier, debuts with Opéra National Montpellier, Wrocław Opera as Tosca, also Halka at Theater an der Wien, returns to Polish National Opera in Tosca, Halka and Die tote Stadt.
Vissi d'arte
Puccini - Tosca
Vissi d'arte
Puccini - Tosca
In this Teatro dell'Opera production, the protagonist is the young Polish soprano Ewa Vesin. No doubt, she is one of the few sopranos able to cope with this taxing role. She is a soprano with a good and well set voice as well as a wide extension of range. She fits the role well, and makes Renate's strikingly evocative obsession credible - her sexual relationship with the devil that she believes to be an angel, first, and a knight, later, her contagion to a whole group of nuns, and her trial and condemnation to be burnt at the stake. She marshaled an array of colors. She is warm and elegantly contoured whenever she reminisced about the angel. Her voice becomes shrill and cutting when her hysteria reached fever. She is also a superb actress.
In particolare la Renata di Ewa Vesin, sempre in scena, d’una fatica sovrumana per il soprano questa partitura, eppure l’interprete non appare mai stanca, è duttilissima, splendida attrice che canta o cantante che recita, sono tutt’uno. Come dovrebbe sempre essere in teatro un cantante.
Ewa Vesin adapts with ease to the demanding and taxing role of Renata, rich in hallucinatory soliloquies, lyrical leaps and shouted moments.
