Claudia Pavone was a splendid Micaëla. Endowed with a voice quality of captivating beauty she soared confidently and seamlessly into the high register and warmly into the lower. Her performance was polished and moving.
Another Italian making her debut with the company was soprano Claudia Pavone in the role of Micaëla. A fantastic voice with excellent acting skills, it seems odd to place such a magnificent talent into a smaller role but perhaps might be used as a trial run for larger roles in the future. She certainly proved herself well, showing great understanding of the character with the added dimension of development where many others have not bothered in the past. Beginning as a small innocent country girl bullied by the soldiers she grows to a strong woman determined, albeit failing in the end, to draw Don José away from the criminal life. This may have been the expert influence of Director John Bell or her own interpretation. Either way the audience loved her.
The star of the night was our next Italian soprano Claudia Pavone, as Micaela the original love of Don Jose. Her voice was just beautiful as she pleads with Don Jose to return to his ailing mother.
As Micaela, Claudia Pavone sang with a voice of great natural attractiveness, rewarding purity and openness of tone. She shaped her scenes with reserve and discreet poise.
Let's say that Claudia Pavone already has the maturity to face this impervious role: not surprisingly in 2015 she was chosen by Riccardo Muti for a concert performance in Ravenna, and the lesson of such a coach is evident in the awareness of the theatrical meaning of every note and every word. Just a few examples: the variety of colors and accents in the duet with Germont father, "Amami Alfredo" exploded like a roar of love and not an essay of bel canto, up to details like "E' tardi" at the end of the reading of the letter, dry and harsh, and not sbracato as heard by so many sacred monsters. And then, the technical means: a voice full of harmonics, powerful in the high-pitched and thorny in certain creepy half-voices. A performance to frame "
The Italian soprano Claudia Pavone (a great Adalgisa last season at the Opera de Rennes) is at the same level as her partners, lending Gilda her youth and the beauty of her singing. Without anything of the mechanical bird that is often proposed to us, her Gilda is in the right line of the Belcantist tradition, as much in the precision of the attacks as in the variety of the ornamentation. She delivers a dazzling "Caro nome", greeted by a salvo of applause from the public.
Very talented Claudia Pavone in designing a Gilda scenically halfway between a teenager and a woman, no longer one but not completely the other, which is expressed with the luxuriance of a central register capable however of rising to treble and upper notes without losing substance , and able to bend to mid-highs and very fine pianissimi effect.
The Gilda of Claudia Pavone was also a pleasant surprise, supported by a perfectly mastered iron technique and a natural gift that gives her a beautiful velvety timbre and a respectable volume. She outlined a never flat or boring Gilda, there are the agility , the phrasing and the dramatic power, she expressed the different moods and troubles of Rigoletto's poor daughter in a convincing and realistic way, from the adolescent naivety of the "Caro nome", to the disappointment that she was able to convey convincingly, and to the disturbing peace of death when this stage director makes her appearing, already resigned specter, in the presence of his father in the final.
The Gilda by Claudia Pavone is perfect in purity of voice and intention: the timbre is luminous and homogeneous, the volume is sufficiently large, the agility is confidently grabbed, the melodies are refined with taste and grace. As requested by the director, her Gilda is not a capricious child, but a teenager who knows what she wants.
The principal roles were undertaken by three accomplished singers, all of whom made excellent contributions. Violetta was interpreted by the soprano, Claudia Pavone. Her voice is strong across the range with a colorful pallet, which she used to good effect in delivering an emotionally expressive and passionate performance. In the opening to the duet “Ma se tornado non m’hai salvato” Violetta reflects upon her coming death, and upon the happiness she wanted so much, which is now so close, but that she will never see. Pavone produced an intense rendition in which she displayed her voice’s marvelous flexibility, evidenced by its colorful and dynamic contrasts, which she overlaid with impassioned inflections. Throughout Acts two and three she produced a consistently emotionally charged reading, and if she occasionally lacked a certain amount of beauty it was a price worth paying. In Act one, however, she was less effective – she appears to be more at ease in the heavy emotional scenes. In the opening party scene she sang well, but never managed to fully engage with the character. “Sempre libera” displayed her technically proficient coloratura, but the cabaletta lacked the necessary radiance and vitality. Overall, this was a compelling performance, one which highlighted Pavone’s skills as a singing-actress, and her ability to enter into the emotional heart of a character.
Sur ce terrain, il est rejoint par Claudia Pavone, laquelle, servie par une voix fort bien dominée, propose une Adalgisa, sensible, fragile mais d’une grande force d’âme.
Sa compatriote Claudia Pavone (Adalgisa) lui vole ainsi la vedette grâce à ses nombreux atouts : un timbre diapré, un grave d’une belle rondeur, une superbe agilité dans les vocalises, et une noblesse d’émission qui lui permet de livrer un chant de filiation néoclassique en parfait accord avec le concept de mise en scène. Et puis avec sa voix de soprano (et non de mezzo), cette heureuse découverte marque un retour à la véritable vocalita du rôle, telle que la voulait Vincenzo Bellini, et cela nous change des voix trop lourdes bien souvent entendues dans cet emploi
Well done Claudia Pavone in sketching out a fragile, but not submissive, Gilda. Beautiful crystal clear voice, reaching the higher spectrum with incredible naturalness; great care is taken of dynamics, mezze voci are full and solid, legato is well taken care of too.
As regards voices, the most noticeable are definitely Francesco Landolfi, in the eponymous role, and Claudia Pavone, in the role of Gilda… Claudia is a very convincing Gilda, with great control over nuances (Gualtier Maldè) and able to move us, also thanks to her aware, and enthralling, interpretation. A good voice timbre for the role and good harmony, with the father,merits praise in the duets.
Claudia Pavone, one year after the excellent Traviata for OperaLombardia, confirms that she is prestigious vocalist and sensitive artist. Her performances are in constant crescendo … Her interpretation of Gilda appears, already in the second act, as stable and strong-willed both in her interpretation and her vocalisation. “Tutte le feste del tempio” (All the celebrations of the temple) is carefully sculpted and is followed by a “Vendetta tremenda vendetta” (Vendetta terrible vendetta) which is marked by a superb E flat. Towards the end of the Opera, the troublesome B flats,that are scattered throughout “Lassù in cielo” (Up there in heaven) during the pianissimo, are a model of purity and intonation.
Claudia Pavone is a real protagonist, in the first act she seems to offer herself as the umpteenth Violetta with a well extended, high-light-operatic voice, one who will give the best of herself in the cabaletta. Indeed, her agility, fluency, is well defined and the “Sempre Libera” (Always Free) is crowned by a traditional E flat … However, she further conquers the scene, and more and more incisively, in the following two Acts. This young performer, as pleasant as is her colourful, clear, sweet voice, finds the right accents and emphases needed to shape the dramatic crescendo of the character, both in the discussion with Germont, and in the second finale (together with the mastery of Rolli and with the Choir in one of its not infrequent moments of grace), and, also, in the well-crafted “Addio del passato” (Farewell to the past).
Among the cast Claudia Pavone immediately stands out in her debut in Florence. She had already caught people’s attention as Violetta Valéry in Alice Rohrwacher’s production which toured theatres in Lombardy and Emilia last Autumn. Although she begins the opera slightly understated, already by Brindisi she casts any doubts aside and takes up a clear homogeneous line,and a kaleidoscope of colours that she manages to play with in an enviable manner. This, together with the most careful of phrasing, allows her to construct a well-rounded character, with a thousand hues. A young, impetuous protagonist emerges, who consumes herself, and is consumed without wanting to be, by a desperate struggle against the world that surrounds her: one good example of this is the final Act, especially in ““Gran Dio, morir sì giovine” (Great God, to die so young), in which every word is a last, desperate attempt to remain attached to life. This soprano also manages to stand out – as well as in the famous arias which she executes gracefully, with wisdom and musicality - by filling out those phrases of the passage that are often lost, as for example in “Non gradireste ora le danze?” (Wouldn’t you like dances now?) that brims with a totally exterior frivolity that one rarely hears.
The protagonist of the performance we have just seen is Claudia Pavone, a Violetta who is greatly at her ease in the first part because she has a fresh, relatively agile voice which, little by little, acquires dramatic depth as events follow one upon the other, a depth that is not cumbersome, sounds are not heavy,and, also, Pavone maintains a degree of innocence, of naivety, in her actions and her singing, even in the midst of tragedy.
Violetta Valery is played, alternately, by Mihaela Marcu and Claudia Pavone. The latter sang the role on the 8th December, at the afternoon performance (B shift), at Ponchiello adding to the approbation she received following her debut as Violetta in theatres in Emilia. The naturalness, the ease, of her performance shows that she knows very well how to manage the character from both the scenic, dramatic ,and from the vocal, operatic, points of view. Endowed with a soft voice, she was yet well able to find the agility required to cope with the difficulties scattered throughout the score.
Claudia Pavone, who is making her debut as Violetta in this production, is an excellent protagonist. Endowed with an agile, straightforward, light operatic soprano voice, with crystal clear timbre, Pavone sings the part with a naturalness that leaves one almost astounded.…. The shrill vocalisation, free and homogeneous output, very clear diction at every pitch, all make this a debut worthy of note. Claudia Pavone does not skimp on the dynamics either: both the alternating forte/piano, piano/forte of the B Flats of the “gioìr(s)” in the first aria, and holding long “la naturali(s)”, in pianissimo, in “Addio del passato”, are clear examples.
With reference to my first Traviata, conducted by the great Maestro Muti in the form of a concert on 3rd of August 2016: …. Over everything shines the voice of Claudia Pavone, a soft and homogeneous Violetta, unsullied, and with almost impeccable diction, something that is rare amongst today’s singers, to the point at which you just don’t want to stop listening to such spreading beauty.