Here's some 'reviews on the two great performances of Tosca at the Teatro Carlo Felice in Genoa:
" Daniela Dessi and Fabio Armiliato , returning to sing in the Teatro of their city after several years (finally!), have taken an incontrovertible personal success with standing ovations from the stadium who have drowned after "Vissi d'Arte" and "E lucevan le stelle" (BISS). It 'clear their harmony and their emotional bond, which has benefited so much work "blood" as Tosca. "
A. Otto, Corriere Mercantile
"applause last night at the Teatro Carlo Felice in Genoa for the "Tosca" by Giacomo Puccini played masterfully by Fabio Armiliato and Daniela Dessi .
couple both on stage and in private life, the two have enchanted the audience that they have reciprocated by paying them all the esteem and affection that a city like Genoa often believed not to be able to offer by virtue of a vaunted coolness. The encore
Armiliato - Caravadossi in "lucevan le stelle" was due, and the generous applause of the public and critical attention as well. Daniela Dessì with its gentle elegance, the generous gesture and delicate, has interpreted a Tosca full of passion and fragility at the same time, and the beautiful soft but powerful voice have sanctioned the full success with audiences and critics.
Fabio Armiliato is back in his Genoa and has earned the theater that once saw him make his debut in 1984 in the role of Gabriele Adorno with Simon Boccanegra. Much progress has been made, his artistic career has seen him score one success after another, and his artistic growth is now at its peak. Daniela Dessì
also had its birth in the pride. She graduated in singing and piano at the Conservatory Arrigo Boito in Parma, specializing in concert singing at the Academy Chigiana Siena. After winning the first prize at the International Competition organized by RAI in 1980, he made his debut with the Opera in The Playful maid mistress of Pergolesi, constituting a repertoire which includes about 70 titles from Monteverdi to Prokofiev, from baroque repertoire to its extraordinary interpretations of the Mozart and Verdi heroines, to be considered today the best performer of the verismo repertoire.
We are very fond of this pair of aces who knows the music lead Italy - Genoa and our - at levels of excellence throughout the world.
Thanks Fabio and Daniela "
O. Mariotti, Genoa-Zena
" Ovations also a scene open to the couple protagonist, soprano Daniela Dessi and tenor Fabio Armiliato , which should even repeat "E lucevan le stelle" ... Distinguishing feature of this Tosca was to return to the Carlo Felice of Genoa and Dessì Armiliato : around their presence has carved out the entire setup of the show. Applauded not only because the Genoese, but also because for them, together and separately, Tosca has become a real workhorse, resulted in major opera houses around the world. The passionate Tosca Daniela Dessì seems fully aware of the layered facets of the character, oscillating between tenderness and sullenness, pride and ingenuity. And Armiliato Cavaradossi is silhouetted in a simple but very effective interpretive intentions, convincing because of its direct expression. "
WE Rosasco, Il Secolo XIX
" The old phrase propheta Nemo in his country has found sensational double at the first denial of Tosca by Giacomo Puccini staged at the Teatro Carlo Felice in Genoa last June 8. The cast saw it in the shoes of the protagonist, the soprano Daniela Dessi and those of the painter Mario Cavaradossi, tenor Fabio Armiliato : both of Genoese origin, and then committed to play "home" in the theater of their city. The reception for the artist couple from the audience was absolutely joyful things and the rest could not be done differently given the high level of performance of the two singers who have maintained their roles a continuation of very significant (at this regard, it is enough to recall that the role of Tosca's character is staged several times since Dessì, who, despite being the creator of one of the most challenging and prestigious careers lyrical landscape of the world despite having embraced a repertoire very large during the years, she returned on a regular basis to interpret the unfortunate theater Puccini's heroine). In these cases it is inevitable that the vast experience gained in their roles and it is claimed that soprano and tenor are able to better manage the energy to devote to their vocal parts (very difficult), as is also true that the long tradition With this work has allowed them to significantly deepen the excavation of the psychological character addressed by providing an interpretation task is to establish. To be more specific, Daniela Dessì's Tosca can not but fascinate the many merits to be produced, starting with the always enthralling sound quality, so lush in a central register so soft and polished, mirror a provocative and sensual femininity strong. It is distinctly heard in the melodic abandon of love duets of the first and third act, where the passion of the protagonist emerges overbearing but natural, spontaneous and always measured, never exhibited or sought. The plumpness of the timbre of soprano is seductive and enveloping the listener with Mario too, conquered by the suave phrasing and such a wealth of resources. In the most dramatic acts of the second and third, however, the soprano innervates the right hand of a great power of interpretation that the door to face with great confidence and momentum all commitments required by the acute side waste (including that of the fateful "blade " adequately robust and soaring), but never betray the intimate nature of his lyrical voice and no end in fact very natural taste (the Dessì choose for example to sing out every note of the score, banning the use of speech even in where traditionally it is practiced). In the second act when the long-awaited appointment with the solo of "Vissi d'arte" is identified with the generous and well festeggiatissima by the public, while, as regards the stage play, the actress moves with ease and elegance on stage really admirable (qualities emphasized by the always fascinating figure enhanced by the gorgeous costumes designed for her character). The conclusion of the second act really leaves the viewer breathless, both for the relevance of the dramatic stage movements for the psychological grip at play: in a final reading capital that confirms the authority of interpretation tested but always deeply felt.
the same level of interpretation offered by a Cavaradossi Fabio Armiliato in top vocal form. Sentimental and patriotic zeal coexist harmoniously in its depiction of Mario. The burnished timbre gives the right character to manhood while the propensity to mezzavoce performed the song in the most intimate side highlights the most affectionate and sentimental lover, as in the case air the third act, repeating to great acclaim and which Armiliato has won great personal success. The heroic side of the character emerges in the possession of the secure high register that in the exultation of the second act ("Victory! Victory!") Stands imperious and insolent properly, causing immediate applause from the audience. Absolutely stage presence is apt then that the remarkable capacity actorial, which outline a truly believable Cavaradossi. The direction of Marco
Bohemians, the head of the Teatro Carlo Felice, has been able to optimally balance the relationship voices and orchestra make appropriate pages full of instrumental colors and ideas. As anticipated
warmest applause for all tips with great enthusiasm for the couple Dessì-Armiliato . "
F. Zanella, Operaclick
" The couple Armiliato Dessì- has naturally raised the enthusiasm of public: Cavaradossi, a passionate lover and defiant rebel, took leave of life with an aria performed with musical taste and intelligence, as well as Tosca character painted with great experience and that with "Vissi d'Arte" was deservedly warm acclaim from the audience. "B. Cates, Il Giornale
" Dessì's Tosca is a solid profession in which I lived Art got a standing ovation justified "
A. Iovino, The Republic
8 and 10 June 2010
Teatro Carlo Felice Genova
TOSCA
TOSCA: Daniela Dessi Mario Cavaradossi
: Fabio Armiliato
Baron Scarpia: Claudio Sgura
ANGELOTTI: Nicolay Bikov
SACRISTAN: Armando Gabba
SPOLETTA: Marssimiliano squad
SCIARRONE: Angelo Nardinocchi
A jailer: Roberto Conti
Orchestra and Chorus of the Teatro Carlo Felice
Director: Marco Bohemians
Directed by: Renzo Giacchero
Scene: Adolf Hohenstein
Equipment: Fondazione del Teatro dell'Opera di Roma
