Verbier Festival Debut

“In any case, Mr. Salonen certainly did nothing here musically to dampen his prospects . . . Berlioz’s “Nuits d’Été” (Summer Nights), with the superb mezzo-soprano Joyce DiDonato as soloist . . . he also proved a sympathetic partner to Ms. DiDonato in beautiful renderings of the Berlioz songs. Not that he needed to give her strong vocalism much quarter.”

James R. Oestreich – The New York Times

“The evening continues with Les Nuits d’été by Hector Berlioz, next to the conductor is the mezzo-soprano Joyce DiDonato, and the atmosphere is magic and sensual.

Les Nuits d’été translates the feelings of romance to the atmosphere of night-time, melancholy and mournful, with the extreme lightness and sensitivity of Berlioz. It is as if every note, every breath, every chord vanishes with impalabile fading into elusive impressions, left deep within the soul. Villanelle, the first of the six melodies of Nuits d’été, is an introduction to the amiable, cheerful, and very different atmospheres of the work. The delicate refinement of the orchestration is written at the highest level and DiDonato’s voice makes the unpredictable harmonic resolutions sound fresh and light.

Le specter de la rose has drama, passion, and nostalgia, superbly and vibrantly traversed by DiDonato’s voice . . . In Sur les lagunes, the voice alternately emphasizes the expressive value of the words . . . It all moves toward Au Cimetiere, Clair de Lune, and L’ile Inconnue, the finale that closes the cycle on a lighter note. It is as if everything is on the fringe, the dream of true love and eternal happiness becomes uncertain, and in the spaces there is a mirage that bends the music in a wide range of expressive registers, that emotionally captures the audience.”

Antonella Iozzo – Bluarte

{La serata continua con Les Nuits d’été di Hector Berlioz, accanto al direttore il mezzo-soprano Joyce Didonato, ed è magia, atmosfera, sensualità.

Les Nuits d’été traducono la sensibilità romantica per le atmosfere notturne, melanconiche, lugubri di Berlioz con estrema levità e sensibilità. È come se ogni nota, ogni respiro, ogni accordo ne sfumasse l’impalabile evanescenza in inafferrabili impressioni in fondo all’anima. Villanelle, prima delle sei mélodies delle Nuits d’été, è un’introduzione amabile e gaia alle ben diverse atmosfere delle successive liriche. La delicata raffinatezza dell’orchestrazione è resa al massimo livello e la voce della Didonato rende le imprevedibili soluzioni armoniche fresche e leggere.

Le spectre de la rose, drammaticità, passione, nostalgia modulate dalla voce di Didonato in modo superbo e vibrante . . . In Sur les lagunes, la voce sottolinea invece il valore espressivo delle parole, quasi un recitativo che il gesto del direttore sembra accarezzare . . . Tutto scivola verso Au Cimetiere, Clair de Lune, fino al finale con L’ile Inconnue che chiude il ciclo con un tono più leggero. È come se tutto si frangiasse, il sogno del vero amore e dell’eterna felicità, diventano incerti, vani, un miraggio che flette la musica in un ampio raggio di registri espressivi che coinvolgono emotivamente il pubblico.}

“There is a need for a noted response, especially with the inevitability that the concerts offered by the confirmed guests, concert after concert, rare excellence. For example, long be remembered the performance of the American mezzo-soprano Joyce DiDonato, and her grace deployed on Friday with Hector Berlioz’ Les Nuits d’été. Her low notes have a spellbinding and rich curve with a bewildering clarity in the upper register.”

Rocco Zacheo – Tribune de Genève

{La nécessité d’une réponse relève d’autant plus du caractère incontournable que les concerts offerts par les invités confirment, éditions après éditions, une excellence rare. On se rappellera longtemps, par exemple, du passage de la mezzo-soprano américaine Joyce DiDonato, de sa grâce, déployée vendredi sur Les Nuits d’été d’Hector Berlioz. De son timbre aux rondeurs envoûtantes dans les graves et à la clarté confondante dans les aigus.}