The Verdi Album / Yoncheva, Zanetti, Munich Radio Orchestra
Sony Masterworks
CD
$6.49$12.98Save 50%Feb 02, 2018
Sonya Yoncheva dedicates her new album to the music of Verdi and records some of the most important repertoire for the dramatic soprano. With Massimo Zanetti she has paired up with a conductor very versed in the music of Verdi. The album includes arias from beloved masterpieces such as Il trovatore, La forza del destino, Don Carlo and Otello but also earlier gems such as Stiffelio. Following a series of spectacular debuts at the world’s leading opera houses, soprano Sonya Yoncheva has been heralded as one of the most acclaimed and exciting performers of her generation. She has become a fixture on the most important stages of the world, including the Metropolitan Opera, Royal Opera House, Bayerische Staatsoper, Berlin State Opera, Wiener Staatsoper, and the Opéra de Paris. Her unforgettable portrayals of iconic roles have received tremendous acclaim from critics and audiences alike. Of her performances in La traviata at the Staatsoper Berlin, Die Welt proclaimed: "She is the finest Violetta since Maria Callas. The Bulgarian soprano Sonya Yoncheva is possibly the best Traviata in the world at present.” Sonya Yoncheva’s extensive repertoire includes jewels of the Baroque canon, as well as works by Mozart, Verdi, Tchaikovsky, and Puccini. Celebrated for her distinctly beautiful voice and exceptional dramatic presence, Sonya is equally at home on the concert and recital stage, having performed to critical acclaim in several cities including Paris, Dresden, Baden-Baden, and Prague.
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REVIEW:
She certainly has a go at just about everything, ranging from the delicacy of Desdemona’s ‘Ave Maria’, to the wilder grief of the Forza Leonora’s ‘Pace! Pace, mio Dio!’ Perhaps best are the musings of Amelia Boccanegra, which sit perfectly within the size and range of her voice. Massimo Zanetti’s conducting is spacious and supportive, and he makes much of the introductions to the Boccanegra and Don Carlo arias.
The English musical Renaissance reached it's apogee with Henry Purcell. Inspired by French pomp and Italian melodies, he forged a unique style, blending royal splendour with an authentic British spirit. His masterpiece, Dido and Aeneas, is a timeless lyrical gem, exploring the eternal tragedy of love and abandonment. The majestic Sonya Yoncheva plays Dido, the queen in love betrayed by fate, while Halidou Nombre gives voice to the passions of Aeneas, torn between his love and the call of Rome, who is caught up in an intrigue hatched by dark forces. At the Opera Royal of Versailles, the music of the Orpheus britannicus resonates with eternal splendour, magnified by the dreamlike staging of Cecile Roussat and Julien Lubek. Their masterful approach, combining mime, dance and acrobatics, transforms every moment into a magical tableau, sublimated by the fervour of the young soloists from the Academie de l'Opera Royal.
Strauss & Mahler / Yoncheva, Payare, Montreal Symphony
PENTATONE
CD
$19.99Mar 15, 2024
The Orchestre symphonique de Montréal and its Music Director Rafael Payare extend their Pentatone discography with a recording of Richard Strauss’s Ein Heldenleben and Gustav Mahler’s Rückert-Lieder, sung by star soprano Sonya Yoncheva. The pairing of works may seem odd at first, with Strauss at his most exuberant and Mahler at his most introspective. They share, however, a deeply personal and autobiographical approach by two giants of fin-de-siècle music coming to terms with the world they lived in and their place in it. After their acclaimed recording of Mahler’s Fifth Symphony, Payare and the orchestra further explore this late-Romantic repertoire that fits them like a glove. Unique about this project is the participation of Sonya Yoncheva, an opera star presenting herself in German orchestral song for the first time on record.
Bringing together again, for the first time since their premiere, Tchaikovsky's opera Iolanta and ballet The Nutcracker, was the audacious challenge that Russian stage director Dmitri Tcherniakov accepted for the Palais Garnier in Paris in March 2016 : a revolutionary production, which was to become one of the key events of the Paris Opera season. With great intelligence, Tcherniakov renews the dialogue between the two masterpieces, and reveals their common origins. He thus reminds us that both Iolanta and The Nutcracker are first and foremost initiatory journeys, in which the heroes experience love and loss, fortune and misfortune. In doing so, Dmitri Tcherniakov, with the collaboration of contemporary choreographers Sidi Larbi Cherkaoui, Edouard Lock and Arthur Pita, goes as far as to completely disregard the magical extravaganzas that Marius Petipa associated to The Nutcracker, and radically turns the dream into a nightmare dominated by despair and loneliness. To insure the continuity and a sense of dramatic consistency between the opera and the ballet, Tcherniakov skillfully modulates the space provided by the Palais Garnier. A solution that also enables him to question the very nature of both theater and illusion, as well as their specular relationship with the reality they try to make us forget. Bulgarian soprano Sonya Yoncheva delivers a flamboyant interpretation of the blind princess Iolanta, and shares the stage with Polish tenor Arnold Rutkowski and Ukrainian bass Alexander Tsymbalyuk. The internationally renowned French conductor Alain Altinoglu joins forces with the Paris Opera Orchestra and Chorus, while the Paris Opera Ballet, among which Marion Barbeau- a radiant Marie - and the Etoiles Stéphane Bullion and Alice Renavand, revives the most popular ballet of all time.
Bringing together again, for the first time since their premiere, Tchaikovsky’s opera Iolanta and ballet The Nutcracker, was the audacious challenge that Russian stage director Dmitri Tcherniakov accepted for the Palais Garnier in Paris in March 2016 : a revolutionary production, which was to become one of the key events of the Paris Opera season. With great intelligence, Tcherniakov renews the dialogue between the two masterpieces, and reveals their common origins. He thus reminds us that both Iolanta and The Nutcracker are first and foremost initiatory journeys, in which the heroes experience love and loss, fortune and misfortune. In doing so, Dmitri Tcherniakov, with the collaboration of contemporary choreographers Sidi Larbi Cherkaoui, Edouard Lock and Arthur Pita, goes as far as to completely disregard the magical extravaganzas that Marius Petipa associated to The Nutcracker, and radically turns the dream into a nightmare dominated by despair and loneliness. To insure the continuity and a sense of dramatic consistency between the opera and the ballet, Tcherniakov skillfully modulates the space provided by the Palais Garnier. A solution that also enables him to question the very nature of both theater and illusion, as well as their specular relationship with the reality they try to make us forget. Bulgarian soprano Sonya Yoncheva delivers a flamboyant interpretation of the blind princess Iolanta, and shares the stage with Polish tenor Arnold Rutkowski and Ukrainian bass Alexander Tsymbalyuk. The internationally renowned French conductor Alain Altinoglu joins forces with the Paris Opera Orchestra and Chorus, while the Paris Opera Ballet, among which Marion Barbeau- a radiant Marie - and the Etoiles Stéphane Bullion and Alice Renavand, revives the most popular ballet of all time.
The lockdown of Spring 2020 allowed Sonya Yoncheva and conductor Leonardo García Alarcón to make the album they had been considering for ten years. Rebirth is a message of hope but also the exploration of an idea: that silence and inactivity are the best prelude to creative renewal. Yoncheva’s fourth solo album for Sony Classical includes music spanning more than five centuries, from folksong to pop, via some of the most powerful moments in seventeenth-century opera. All the music, in Yoncheva’s view, is contemporary. ‘Certain styles of musical composition have remained surprisingly close to us through 500 years of history, combining enormous emotional thrust with great simplicity,’ she says. From the dawn of opera and music by Monteverdi, the album plots a thematic journey from the Italy of Cavalli, his pupil Strozzi and heir Stradella to the England of Dowland, Gibbons and Ferrabosco – whose motet Hear me, O God employs the same four-note theme as ABBA’s Like an Angel Passing Through My Room. After dance-inspired works from Spain and Latin America, and Alarcón’s reconstruction of an aria by Antonio Draghi, Yoncheva offers a traditional folksong from her Bulgarian homeland. Media were full of praise after Sonya Yoncheva performed her album repertoire at the Salzburg Festival after the lockdown in August 2020. ‘Music that moves you to tears’ wrote the APA and the FAZ raved about her Bulgarian folksong ‘Zableinano mi agunce’ being “an unforgettable emotional experience.” Rebirth was recorded in the concert hall of La Chaux-de-Fonds, with Alarcón and his ensemble Cappella Mediterranea, during the first European lockdown. The feeling of the acoustic, Alarcón says, was equivalent to ‘playing inside a vast lute.’
Sonya Yoncheva has long been fascinated by George Sand. Writer, dramaturg, and literary critic, a journalist and an intellectual, the lover of Alfred de Musset and then of Frederic Chopin as well as being a friend of Franz Liszt, Pauline Viardot and Marie Dorval, and beyond her remarkable destiny as a woman blessed with the "glorious and complete independence" which in her age was reserved solely for men, Sand embodies the entire spirit, the essence even, of the 19th century. It is in the first place her boldness, approaching the intrepid, which appeals to the Bulgarian soprano. Sand showed daring for all of her life, and what a fount of inspiration her writings are, on all kinds of topics. Whether political, social, cultural, artistic, how pertinent they are, and how their vibrant, trenchant language dazzles! George Sand loved the arts unconditionally. And so this programme opens the doors to us, revealing her artistic universe and bringing her passions to life. Her house, her kitchen, her salon stir into action again, in this soiree in the company of her friends, these artists to whom she was so close and who, respectfully and with tender affection, listened to each other, conversed, laughed, and celebrated in music and poetry. Here, George Sand do not sing, nor do she play an instrument. So Sonya Yoncheva portrays her by reading some of her words. They bear witness to the sparkling, glittering nature of the "Lady of Nohant". What surprises there are throughout this recital! If the passionate urges of Alfred de Musset, fervent or, as so often, disappointed, nourish this journey equally, so the sumptuous Nuit de decembre by Ruggero Leoncavallo, the more hedonistic examples of Pauline Viardot, these two Mazurkas by Chopin transformed into melodies with Louis Pomey's slightly schoolboyish texts, or more obscurely the "medley" of Les Bohemiennes, marrying diverse motifs, of Brahms's Hungarian Dances, also delight heart and mind - a beautiful homage to the innate music that derives from folk and popular traditions, something that George Sands so frequently and tenderly extolled.
