Concert Reviews

Berlioz’ ‘Les Troyens’ in Strasbourg

“With Didon, Joyce DiDonato continues the exploration of the great roles of the French repertoire recently initiated with Charlotte in Werther … Faced with this recent challenge, the singer finds unknown expressive resources, using changes of timbre to express the horrors in which the Queen of Carthage struggled. The abandoned woman then converses with the outraged queen in a scene of epic grandeur …”

{Avec Didon, Joyce DiDonato poursuit l’exploration des grands rôles du répertoire français amorcé il y a peu de temps par Charlotte dans Werther … Face à ce dernier défi, la chanteuse trouve des ressources expressives insoupçonnées, jouant des changements de registre pour traduire les affres dans lesquels se débat la reine de Carthage. La femme abandonnée dialogue alors avec la reine outragée en une scène d’une grandeur magistrale …}

Christophe Rizoud –

“The second part of “Les Troyens à Carthage” was even more breathtaking. It introduces the absolutely masterful Didon of Joyce DiDonato. What do you prefer to cite first from this great artist? The control of the breath is absolute, the sound is equal over the whole range, from the high vibrating and penetrating sounds to the ripe low register, even discreetly in chest but always for musical purposes and in the situation. The interpretation is varied, evolving, intensely lived, from the affectionate nobility of her entrance “Dear Tyrians” to her final renunciation full of desolation through the subtle halves of the duet with Aeneas and the staggering vehemence of her furious imprecations and desperation.”

{La seconde partie « Les Troyens à Carthage » sera encore plus époustouflante. Elle introduit en effet la Didon absolument magistrale de Joyce DiDonato. Que louer en premier chez cette artiste majeure ? Le contrôle du souffle est absolu, l’émission est égale sur toute la tessiture, de l’aigu vibrant et pénétrant au grave charnu, même discrètement poitriné mais toujours à des fins musicales et en situation. L’interprétation est variée, évolutive, intensément vécue, de la noblesse affectueuse de son entrée « Chers Tyriens » à son renoncement final empli de désolation en passant par les demi-teintes sublimes du duo avec Enée et par la véhémence sidérante de ses imprécations furieuses et désespérées.}

Michel Thomé –

“Joyce DiDonato, Didon the Queen of Carthage turns to the chorus wall at the back of the stage to collect her deafening honors. From a rapid vibrato, she sweeps through the range, in all of her vocal mastery. She hangs the audience on her lips like the arms of the soldiers and the fate of Carthage.”

{Joyce DiDonato, reine Didon de Carthage se tourne vers le mur de choristes en fond de scène pour recueillir les honneurs assourdissants. D’un vibrato rapide, elle balaye son registre de part en part, toute en maîtrise vocale. Elle suspend à ses lèvres l’auditoire comme les armes des soldats et le destin de Carthage.}

Charles Arden –

“The consummate professional, she turned to face the chorus singing her praises in “Gloire à Didon”, a poised, regal presence as the Queen of Carthage. She spun mesmerising pianissimos in “Adieu citié” and was sublime in the ecstatic love duet “Nuit d’ivresse” with Michael Spyres, her Énée. DiDonato darkened her voice to summon up real vehemence at Énée’s betrayal; she is a great tragedienne.”

Mark Pullinger – Bachtrack

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11 hours ago

We will remember it, as well!!

11 hours ago

Thank you, Nicola!

11 hours ago

Thank you so much, Steffi. We are so happy it was such a profound experience for you.

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There will always be more freedom to acquire and more truth to uncover.

~ Joyce DiDonato