This was confirmed by Nadine Sierra’s recital in her debut at the Teatro Colón, as part of the Great International Performers cycle star status.

Sierra made an impact with her vitality and brightness as soon as she took the stage. With the mastery of a solid technique that seems to have no limitss, his charisma, and his refined expressive ability, conquered the public as soon as he opened with joy Oh! Je veux vivre! (replaced Donizetti) from the opera Romeo and Juliet by Gounod.

With slight variations in a rather heterogeneous program, Gounod was continued by Rossini (gentle harp that trusts), then Strauss (Allerseelen, Ständchen, Morgen, Wiegenlied, Cäcilie), to close with air Strange … always freefrom The Traviata by Verdi.

There, Sierra’s voice shone with a beautiful displaygreat coloratura management and incredible breath control that allows you to sustain an uninterrupted sonic thread.

a wonderful tool

The soprano has a prodigious instrument that stood out throughout the first part of the recital: rich in color, flexible and light, with a velvety low register and indisputably beautiful highs.

The variety criterion of the program responds to a path and a progression linked to their training under the guidance of her pianist Kamal Khan, who accompanied her in the recitaland to whom he dedicated a few words of thanks for his unconditional support for over twenty years.

A more intimate atmosphere was created between the arias with Strauss’s songs. Sierra’s voice rang in each of them, animated by the ever imaginative pianist. In the first notes of Allerseelenthe soprano has changed the interpretative register, the expressive possibilities of her voice have found the right tone for the piece.

But it was in Morgen’s sad serenity that Sierra’s expressiveness had a disarming depth. With warmth and tenderness, the singer also vividly illuminated Wiegenlied, the slow crescendo she created at the climax was prodigious.

It was no less successful the magical union of his vocal color with the impressionistic effect of the piano that created the illusion of a single magical instrument. Khan really explored his full range of colors and textures in Strauss’ accompaniments.

Traveling with pianist Kamal Kahn

The beginning of the second part had a surprising effect: while the pianist only played the introduction of the aria after the day de Charpentier, Sierra looked resplendent in a yellow dress that hugged her body. The effect was such that the audience threw an intense applause as soon as they saw her leave.

With the exception of Charpentier’s aria, the journey proposed by Sierra and Khan in the second part leaves the opera aside and passes through the extroverted tone of the pieces, animated by the irresistible freshness of the soprano.

After an extraordinarily subtle finish to the air after the daythe piano immediately captured the contrasting notes of the first of Turina’s Homenaje a Lope de Vega pieces.

Once the festive color was installed, the confusion reached Sierra in Al val de Fuente Ovejuna: With all the naturalness in the world, the singer went to see the pianist’s score and then, with great grace, they started again.

And for the end, another four

Sierra was agile, incisive in each of the songs, and played the syncopes of the baião in with irresistible charm New Engenho by Ernani Brag.

somewhere It was a moving and compelling version, like her sensual performance in Melodía Sentimental de Villa-Lobos.

No less fascinating was the closing of the evening with They call me beautyfrom the zarzuela The Barber of Seville by Geronimo Gimenez.

The ovation of a Colón completely surrendered to the diva was thanked with four unscheduled works: Yes, my call Mimi, Oh my dear childa song from the musical Kismet and a beautiful version of The rose and the willow de Guastavino, with whom Sierra said goodbye visibly moved.

File

Cycle Great international interpreters

excellent

Interpreters: Nadine Sierra (soprano), Kamal Khan (piano).

Teatro Colón, Saturday 23 July.

CJL