Momento immobile: Bel canto arias by Bellini, Donizetti and Rossini

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Gimadieva tackles the coloratura with dexterity, presenting characterful interpretations throughout…The Hallé, conducted by Gianluca Marcianò, are sympathetic collaborators throughout, upping... — BBC Music Magazine, January 2019, 4 out of 5 stars (Performance) / 3 out of 5 stars (Recording) More…

Release Date: 26th Oct 2018
Catalogue No: RCD1021
Label: Rubicon
Length: 82 minutes

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Bellini: Capuleti e i Montecchi: 'Eccomi in lieta vesta … Oh! Quante volte'

Work length9:21

$1.20

$1.95

$2.40

Venera Gimadieva (soloist)
Hallé Orchestra
Gianluca Marciano

Donizetti: Linda di Chamounix: 'Ah! tardai troppo … O luce di quest'anima'

Work length5:18

$1.00

$1.30

$1.60

Venera Gimadieva (soloist)
Hallé Orchestra
Gianluca Marciano

Donizetti: L'elisir d'amore: 'Prendi, per me sei libero'

Work length7:42

$1.20

$1.95

$2.40

Venera Gimadieva (soloist), Natalia Brzezinska (soloist)
Hallé Orchestra
Gianluca Marciano

Rossini: Tancredi: 'Come dolce all'alma mia'

Work length4:31

$1.00

$1.30

$1.60

Venera Gimadieva (soloist)
Hallé Orchestra
Gianluca Marciano

Donizetti: Regnava nel silenzio...Quando rapito in estasi (from Lucia di Lammermoor)

Work length8:28

$1.20

$1.95

$2.40

Venera Gimadieva (soloist), Natalia Brzezinska (soloist)
Hallé Orchestra
Gianluca Marciano

Bellini: La Sonnambula: 'Ah! non credea … Ah! non giunge'

Work length7:46

$1.20

$1.95

$2.40

Venera Gimadieva (soloist)
Hallé Orchestra
Gianluca Marciano

Donizetti: Don Pasquale: 'Quel guardo ... So anch'io'

Work length6:01

$1.00

$1.30

$1.60

Venera Gimadieva (soloist)
Hallé Orchestra
Gianluca Marciano

Rossini: Otello: 'Dagli affanni oppressa … Assisa a piè' d'un salice'

Work length20:14

Album only

Venera Gimadieva (soloist), Natalia Brzezinska (soloist), Alberto Sousa (soloist)
Hallé Orchestra
Gianluca Marciano

Rossini: Guillaume Tell: 'Sombre forêt'

Work length5:12

$1.00

$1.30

$1.60

Venera Gimadieva (soloist)
Hallé Orchestra
Gianluca Marciano

Bellini: l Puritani: 'Qui la voce … Vien diletto'

Work length7:56

$1.20

$1.95

$2.40

Venera Gimadieva (soloist)
Hallé Orchestra
Gianluca Marciano

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About

Hailed as ‘the new voice of Russia’ and the star of the Bolshoi Theatre in Moscow, Venera Gimadieva has quickly become one of the most sought-after lyric coloratura sopranos in Europe. Her performances as Violetta in La Traviata have earned sensational reviews, with the Guardian describing her at her Glyndebourne Festival debut as “a soprano of huge presence, compelling to watch, with a voice of thrilling security and range, and a special quality to her quieter singing that makes you hang on every note.”

Bel canto opera is a plethora of paradoxes and these are most powerfully embodied by the prima donna herself. Pure and passionate, alluring and alarming, desirable and dangerous, she is a woman who, driven by uncontainable desire or righteousness, defies or disregards social convention in her search for what might be deemed a more modern form of self-expression and freedom. She articulates a luxurious femininity which sonically embodies the female form, and is both emancipatory and intimidating. Undeniably, powerfully sensual, she was – and is – subject to patriarchal and social control; innocent, spiritual and soulful, she suffers, is sick and must be destroyed. The melismatic madness of the heroine speaks of a ‘mania’ that is not alien to contemporary notions of a neurosis afflicting modern woman. Does her vocal intensity make us idealise her, or crave and command her sacrifice? At the start of the 21st century, do we recognise her voice as our own? Or is at, as Michel Poizat has argued, ‘the angel’s cry’, an inarticulate expression of the soul at both the pinnacle of its power and the moment of death: a momento immobile.

Reviews

January 2019

Gimadieva tackles the coloratura with dexterity, presenting characterful interpretations throughout…The Hallé, conducted by Gianluca Marcianò, are sympathetic collaborators throughout, upping the ante during an enjoyable ‘Willow Song’.

March 2019

The big scene from the last act of Rossini’s Otello, ending with the Willow Song, is one of her finest dramatic portrayals…She also gives a poised account of ‘Sombre forêt’ (Guillaume Tell), exhibiting skilful management of the ornaments. Elsewhere there are limitations in terms of colouring and dynamic variety, while her often edgy tone is not always an easy listen, particularly higher up.

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Momento immobile

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