02-03-2015
FEDORA-NICOLA LISCHI-OPERA BRITANNIA
Irene Cerboncini, who confirmed and reinforced the positive impression I had of her last year as Tosca, another product of Sardou’s fervid imagination. Miss Cerboncini, who sang this role at La Scala a decade ago, is still in her vocal prime, possesses a true spinto soprano with a compact penetrating top, a meaty low and middle register that allows her to tackle the rather hybrid tessitura of the role (Fedora, just like another Gemma Bellincioni creation, Santuzza, has often lured mezzo-sopranos in search of leading roles) and to sink into the low register with taste. Particularly rich with overtones an dwith no hint of stridency was the area of the voice where the role hammers the most (F 5 – A 5), and the C 6 at the end of Act II (which is only an option offered by the composer) was produced with self-assuredness, expressing an appropriate sense of liberating climax…”
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