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L'arpeggiata tour

30/09/2017

LONDRA WIGMORE HALL 1 DICEMBRE

Grande successo per il tour con l'Arpeggiata, in canada e new york.

Next Dates :

16 dicembre 2018 Gdansk, La lira d'orfeo 


 

Past dates:

1 dicembre a Londra Wigmore hall, La lira d'orfeo, musiche di  L. Rossi

4 ottobre a montreal, La lira d'orfeo, musiche di L.Rossi

6 ottobre a New York Carnegie hall, La lira d'Orfeo, musiche di Luigi Rossi

7 ottobre  a New York Carnegie hall, La festa dell'arpeggiata

 

 

http://seenandheard-international.com

Bridelli, who burst onto the operatic scene in 2007 aged only twenty-one and has since performed all over Europe, carried the vocal line with dazzling assurance. Her repertoire is wide but includes a great deal of early music, and her mastery of it showed. ‘Dove mi spingi, Amor?’ saw her passing through the gamut of emotions embedded in its constituent arioso, recitative and arietta sections. Her warm timbre and velvet passaggi belied the wide tonal range of ‘Sol per breve momento. Dormite, begl’occhi’ was particularly poignant as her voice and the orchestration (in L’Arpeggiata’s arrangement, instruments took on the other two vocal parts) conveyed both pain and consolation; Lully famously imitated this piece in his trio, Dormez Beaux Yeux (1670). Bridelli’s rich low- and middle-register and impeccable diction made for an exquisite rendering of ‘Begl’occhi che dite’while ‘Questo piccolo rio’ showed off her vocal agility and her control in sections of higher tessitura. In the dramatic scena ‘Al soave spirar d’aure serene’, she expressed the variety of feelings – from despair to reflection and elation – involved in this narrative for accompanied solo voice. V.Vescina

 

www.planethugill.com

Add to this the highly engaging and expressive singing of Giuseppina Bridelli. she really has a snse of speaking tones and you hardly needed to refer to the translations as she moved between aria, arioso and recitative with great immediacy and vivid communication. 

New York Times

Ms. Bridelli had more of the choice numbers, and she was particularly impressive in the “Lamento d’Arione,” J. Oestreich

 

www.concertonet.com

Ms. Bridelli, I felt, had the best of the numbers. With such a voice, she could charm any audience with a folkish piece, “The most charming beauty”, and she had the most remarkable work of all, At the gentle breath of serene beauty.


Far from tranquil, this a story of viciousness and consensual bestiality. The Greek poet Arion, to escape from sailors, jumps into the water, is rescued by a dolphin, and then sings a love song to his rescuer. The changes of drama, the anger, the comfort at the end, and Ms. Bridelli’s soothing fungible voice gave the piece true emotion. 
Harry Rolnick

 

www.parterre.com

Bridelli’s darker, warmer voice combined with her much clearer words proved more appealing, and her earnest intensity made the shifting moods and striking musical contrasts of the long Lamento d’Arione the highlight of the program. C.Corwin


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