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MARITA PAPARIZOU<br /> RECORD REVIEW IN ITALIAN OPERA MAGAZINE,<br /> SEPTEMBER 2012 ISSUE<br /> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~</p> <p>Mezzo soprano Marita Paparizou is one of the most interesting voices in the current operatic firmament. Even during her studies at the Athens Conservatoire, she shone for her unusual gifts.</p> <p>After her debut in Genoa in a prestigious presentation of Niccolò Porpora’s Arianna a Nasso, recorded and distributed by Bongiovanni, she began an international career and concentrated on a repertoire ranging from the 17th century to Rossini and beyond, excelling in characters as diverse as Rossini’s Rosina, Isolier, Arsace, Isabella to Smeton in Donizetti’s Anna Bolena, to Verdi parts such as Fenena in Nabucco and Maddalena in Rigoletto and other 19th century works.</p> <p>Marita Paparizou also distinguished herself as a refined concert artist both of oratorio and chamber music. She forged an important niche for herself in the Baroque repertoire and became one of its most important specialists around today.</p> <p>This is confirmed by her latest disc, in which one can hear arias such as «Nel profondo» and «Sorge l’irato nembo» from Orlando Furioso, Stabat Mater in e minor RV 728, «Gelido in ogni vena» from Farnace. At the opposite end from these famous Vivaldi pieces, the artist presents the arias «Morirò, ma vendicata» from Handel’s Teseo and «Addio, o miei sospiri» from Orfeo ed Euridice by Ferdinando Bertoni.</p> <p>One is immediately struck by the big, beautiful, richly and subtly shaded mezzo soprano voice and its deep, dark colour. Its shades adapt masterfully to different emotional situations, ranging from heroism to painful nostalgia. It’s a voice magnificently suited to “trouser roles” such as Orlando, (which was written for Lucia Lancett), possessing the necessary intensity for doing justice to pages such as «Nel profondo cieco mondo». Here, as in numerous passages in other pieces, Paparizou demonstrates a secure technique, both as far as breath support and voice emission are concerned, as well as a sound knowledge of florid singing: she endows the notes with the right weight the roulades with the required power;</p> <p>In the Stabat Mater the soft, round sound suggests a profound religiosity, in which the theatricality demanded by the sacred music of the seventeenth century is rightly not omitted. In addition, special mention must be made of the very beautiful piece by Bertoni, in which Paparizou shows a consummate mastery of the art of phrasing and a real talent for finding the colours and timbre that evoke the right atmosphere. She does this without forcing and with an obvious knowledge of style, supported by a superb musicianship, cultivated with refined precision.<br /> ~~~~~~~~~~~~~~~~~~~~~~~~
22 фев 2013. Духовная музыка А. Тур в Италию. Однако, арии и речитативы, наряду с высокими голосами (альт и сопрано). Первые четыре ноты хора «Donec ponam» задают тему всей композиции. Далее

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