reviews, news & interviews

When crossover goes haywire
by David NiceThursday, January 20, 2011

No one's saying that the mezzo of the moment, glamorous Latvian Elina Garanca, isn't a very class act indeed when it comes to high-quality opera, song and even zarzuela. But she didn't revert to the Age of Aquarius too successfully in this ill-advised TV show appearance, clearly not having visited Hair when it was on in London. The only protest here might have been from the hapless spectators. And the look makes Kiri as Michael Jackson on her Blue Skies album cover seem dignified.

Below, Elina Garanca sings "Aquarius" from Hair

{youtube}MMMe9gp1b4o {/youtube}

So let's be fair, and see and hear Ms Garanca at her best. On the operatic stage, she's singing every bit as well as she did when she made such an impression at - but failed to win - the Cardiff Singer of the World Competition back in 2001.

Below, Elina Garanca sings Rossini's "Non piu mesta"

Comments

Submitted by David Bernstein (not verified) on Fri, 01/21/2011 - 11:53

Permalink
Small point... Cardiff 2001 was won by Marius Brenciu, not Garanca.... The following from the BBC web site .... 2001: Dame Joan Sutherland returned to the jury for the fifth time and Marilyn Horne for the third. This year saw history made when the 27-year-old Romanian tenor Marius Brenciu won both the Song Prize and what by now had become the most coveted title in the world of opera.
Not so small, you're right - I had a nagging doubt that she didn't win it, and was misled by an online heading...ah yes, Brenciu, he was good too in Lensky's aria. Have duly corrected in the main text. Thanks for that.

Add comment

The content of this field is kept private and will not be shown publicly.
About text formats

Plain text

  • No HTML tags allowed.
  • Lines and paragraphs break automatically.
  • Web page addresses and email addresses turn into links automatically.

rating

0

explore topics

share this article

Share

more opera

Help to give theartsdesk a future!
Support our GoFundMe appeal
La Straniera, Chelsea Opera Group, Barlow, Cadogan Hall review - diva power saves minor Bellini
Australian soprano Helena Dix is honoured by fine fellow singers, but not her conductor
The Queen of Spades, Garsington Opera review - sonorous gliding over a heart of darkness
Striking design and clear concept, but the intensity within comes and goes
The Flying Dutchman, Opera Holland Park review - into the storm of dreams
A well-skippered Wagnerian voyage between fantasy and realism
Il Trittico, Opéra de Paris review - reordered Puccini works for a phenomenal singing actor
Asmik Grigorian takes all three soprano leads in a near-perfect ensemble
Faust, Royal Opera review - pure theatre in this solid revival
A Faust that smuggles its damnation under theatrical spectacle and excess
Pygmalion, Early Opera Company, Curnyn, Middle Temple Hall review - Rameau magic outside the opera house
Welcome opportunity to catch opera-ballet, though not everything is in perfect focus
Parsifal, Glyndebourne review - the music flies up, the drama remains below
Incandescent singing and playing, but the production domesticates the numinous
Giulio Cesare, The English Concert, Bicket, Barbican review - 10s across the board in perfect Handel
When you get total musicality from everyone involved, there’s nothing better
The Excursions of Mr Brouček, LSO, Rattle, Barbican review - sensuousness, fire and comedy in perfect balance
Janáček’s wacky space-and-time-travel opera glows and grips in every bar
Pimpinone, Royal Opera in the Linbury Theatre review - farce with a sting in its tail
Telemann’s comic opera hits the mark thanks to two fine, well-directed young singers
Die Walküre, Royal Opera review - total music drama
Kosky, Pappano and their singers soar on both wings of Wagner’s double tragedy