There are effective singers, there are great singers and there are absolute monsters, that make gold everything they touch and that make a simple piece into a real work of art through a huge talent. As a sign of this, on 1 May we had the opportunity to enjoy in the Euskalduna Auditorium.

We knew that the American Sondra Radvanovsky is one of the best international sopranos today, but we were surprised to hear in the Basque scene, as it overcame any musical obstacle ahead of it, as if it were the simplest and most common thing in the world.

Radvanovsky explained a rigorous program covering a long stage of operatic music. From the 17th century with Giulio Caccini, passing through belcantism and ending verism. The latter, the verism, is assumed by the singer with an exceptional talent. Radvanovsky was comfortable at all times giving him the best of himself.

Their voice emission qualifies us to the bottom: in the fortees, incandescent and yet loaded with sensitivity, without a trace of cries, even in those floating pianos that they like to form with rapid dynamics.

His ability to master the voice allows him to show great drama. It is not because he does not master the body record, but because his excellent singing is enough to express the emotional margin required by the song.

As I say, it was perfectly dedicated to the entire repertoire. Very safe in the performance of Yellowi mia bella, by Giulio Caccini, and perfect vocally in the song of Gluck O, of my burning dolce. But in works that demonstrate their dramatism it manages to disturb the public, of course, in a good sense. In the songs of Bellini (Per pietà, bell’idol mio, La ricordanza y Ma pur contented) he sang very willingly. In addition to the sharp ups, dynamic regulations that are their brand began to appear, with effects especially well obtained in La ricordanza. Of course, his experience in the Italian opera led him to demonstrate the best phrasing in this part.

In addition to all this, a sympathetic artist (who gave many explanations about the program) and very emotional appeared. Tears were coming when he remembered his sick mother and offered him La mamma morta de la opera Andrea Chénier de Giordano.
He gave some bis, great. I would highlight Pace, pace, or mio, of The Forza of Destiny, of Verdi, but all of them expressive and perfect, like the rest of the program.