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.