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DETAILS

Composer: PACINI Giovanni, MERCADANTE Saverio
Soloist(s): Annick Massis, Laura Polverelli, Bruce Ford, Majella Cullagh, Kenneth Tarver, Alan Opie, Roland Wood, Henry Waddington
Conductor(s): David Parry
Orchestra(s): London Philharmonic Orchestra
Number: ORR236
Choir(s): Geoffrey Mitchell Choir
Released: 2006
Label: OPERA RARA
Buy this cd at opera-rara.com




REVUE DE PRESSE
lang...''that the recital begins. An elegant solo section for Gulnara in Il corsaro, gracefully sung by Annick Massis, leads to an attractive canon for Ford, Laura Polverelli and her. Massis does have one item predominantly to herself. The long extract for Allan Cameron begins with a chorus, then at 4’10” the soprano enters with a recitative followed by a graceful aria of Bellinian refinement. After in interjections from baritone and chorus there comes a five-minute cabaletta. Massis traces the aria’s shape with long phrases and again shows that she can surmount the most ornate divisions.''
International Record Review
April 2006
John T Hughes
langOpera Rara has brought some of its finest singers for a first-class vocal display. It’s kind of a vocal marathon and contest of ‘anything you can sing I can sing better’. Massis, Cullagh, Opie and chorus practically blow off the roof in a rousing scene from Il Constabile. Cullagh displays her vocal virtuosity in an Elena aria, but then Massis sky-rockets through the finale from Allan Cameron.
American Record Guide
September/October 2006
Parsons
lang....» Annick Massis luce como siempre un registro agudo magnifico y una coloratura fluida, que brillan en la escena final del Allan Cameron.
Mundoclassico.com
11 May 2006

Les prochains rendez-vous
Janvier 24, 27, 29, 2019 Février 01, 03, 2019
Lucrezia Borgia
Théâtre du Capitole | Toulouse

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I Puritani
Opéra de Monte-Carlo | DEC. 2017


Annick Massis manifestement en confiance, délivre un chant aussi expressif que de haute école.                                                                    Le cantabile de « Qui la voce » se déploie sur un souffle infini , avec un art consommé du chiaroscuro.Et son « Virgin vezzosa «  comme «  Vien, diletto « , aux vocalises , échelles chromatiques et trilles impeccables, sont couronnés d’aigus très sûrs, mais toujours intégrés à la phrase.                           



                                                                                  Thierry Guyenne | Opéra Magazine | Jan.2018



 


Spectacles recents
  • La Sonnambula
  • La Traviata
  • Jérusalem
  • Lucia di Lammermoor
  • Les pecheurs de perles
  • La Straniera
  • Manon
  • Maria Stuarda
  • L'ENFANT ET LES SORTILÈGES | LE FEU, LA PRINCESSE, LE ROSSIGNOL
  • Moïse et Pharaon | Anaï
  • GUILLAUME TELL | MATHILDE
  • I Puritani