JOURNALIST CHRONICLES – SOFIA – 15th OF JULY –
Ivan Varbanov
Gergana Rusekova delivered a stunning performance as Santuzza in “Cavalleria Rusticana” by Mascagni at the “Opera at the Square” festival on the 15th of July.
A beautiful voice with a big range which effortlessly covered the entire open space in front of the “St. Alexander Nevsky” cathedral. A vocal line, masterful crafting of tones, a bel canto flow. A sensual and impactful singing coupled with excellent dosage and control of contrasting dynamics: from pianissimo to fortissimo and forza. Gentleness and dramatism and a personal artistic aura on stage which compels the viewer to follow every action, gesture and detail of hers.
Gergana Rusekova sang with the warmth and despair of her heroine. I felt she was completely invested in each and every experience of Santuzza’s dramaturgical tale and simultaneously: slightly detached, in order to masterfully control the sound stage, vocalization, balance and registers as well as the power of emission according to the orchestra’s sound and the conductor’s requirements: the uncompromising maestro Daniel Oren. He conducted each note of “Cavalleria Rusticana” with passion and zeal; he exalted the musicians, singers and audience with his full dedication and perfectionism when interpreting the score.
Gergana depicted every single nuance of her character: love, tragedy and jealousy.
Her vocal image was complete, performed and presented with respectable precision, singer’s intelligence, class and beauty.
My heartfelt congratulations and respect!
Vesela Yaneva who debuted in the role of Mama Lucia sang so confidently and stably in this role I had to make sure on several occasions whether this wasn’t actually an Italian guest star, part of Daniel Oren’s team. Yaneva’s voice was piercing, collected and focused in front of her and there was no doubt she would be clearly heard on the open stage, from the very first lines she sang. Convincing, yes! This word best describes her performance, presented with the power of impact and depicting vocal maturity as well as deep psychological analysis. Vesela completely naturally and authentically recreated the image of a suffering mother, with her pain and reverence in the face of fate. I believe a closer age gap would be more appropriate in regards to the role’s dynamics in order to best represent the fatigue, burden and weight of age; in contrast, Yaneva’s Mama Lucia was quite lively and energetic at times. However, this is a subjective opinion: of the viewers and the performer, on where to draw the line. An excellent performance from Vesela Yaneva. Congratulations!
Roman Burdenko was a wonderful Alfio and a brilliant Tonio in “Pagliacci”. A fresh, timbre-rich baritone with a large range, he sings without any pressure whatsoever. No pressing and a flawless technique which gives him the opportunity to change registers without losing voice color and strength and without causing a feeling of tension in the viewer’s ear. A first-class singer who behaved freely on stage and performed with ease. A dramatic baritone of the contemporary opera stage who doesn’t lean into hysteria, forcing one’s voice, overdramatizing tones or emission. This is a huge plus for him: the natural ease and freedom which flow from Burdenko while he performs. He sang with a dynamic vocal line without interruptions while changing register; it was as if he added more air in the right moments in order to reach the limits of his high register. The finale of the famous Prologue in “Pagliacci” with the A flat (A♭4) awaited by the audience and turned into tradition despite composer Ruggiero Leoncavallo not having written it in the original score, sounded powerfully, clearly and absolutely natural: without any effort or tension. An exceptional professional of the highest level who will reap more and more successes all around the world.
My thanks to all lead singers on stage, the choir, orchestra and stage staff for the celebration of opera they gifted us. Stars sing under the stars on a magical opera evening: an unusual and memorable experience, for both performers and audience.
JOURNALIST CHRONICLES
Ivan Varbanov