Lamar is a true dramatic soprano — now a rare commodity — with one of those rich, polished voices and a velvet timbre that intoxicates the audience. Lamar’s Tosca is a strong, ambitious, stubborn woman, and above all entirely believable in the role. The Bulgarian-Swiss soprano displays an interesting, unique timbre and a dark, full voice that ascends to the high register with ease while preserving the suppleness of the lower range. It seemed to us that Lamar is very aware of Magda Olivero’s interpretation of Tosca, which surfaced here and there, and we particularly appreciate this, because in our view Tosca must be exactly like that: with sobs, cries and heartfelt declamation to give the necessary emotional authenticity.
Sublime was Vissi d’arte, in which extraordinary nuances emerge in Lamar’s interpretation: the soprano dwells several times on perché and così, separating the syllables; in her appeal to God she creates a most musical caesura between remuneri and così in the final phrase, perfectly conveying the woman’s soul and psyche. Lastly, excellent is her choice to declaim agli astri, al ciel, che ne ridean più belli — a clear sign of maturity and a deeply considered interpretation of the role.
- Eugenio Poli
, OperaMundus
