A stratospheric vocal performance in the role of Azucena from Anita Rachvelishvili
“Anita Rachvelishvili was born a protagonist and the Georgian mezzo-soprano does not make any mysteries about her desire to excel: «As a performer, I definitely prefer to be the protagonist! You have more control over yourself and the situation. Mezzos are hardly ever at the center of situations, – says the Georgian singer – but Azucena is a great daughter-mother role. She is a troubled, somber woman, blinded by hatred and yet full of love for her son. There is not a more disturbing character in opera, and interpreting her is a challenge that I gladly accept.» So, the Azucena brought to the stage is a disturbed woman, but the sulfurous madness of the gypsy was governed with absolute technical rigor – an even greater homogeneity of registers than that which the Georgian singer has (well) accustomed us to.”
Source: Corriere del Mezzogiorno
“Il Trovatore among the Neapolitan architectural glories of the past, stellar Netrebko and Rachvelishvili.
Azucena is a difficult part, and a mezzo-soprano must be aware that she will have to bring out strength and vocal character – even in the recitatives that precede the great scenes. Anita Rachvelishvili follows a sound path of great interest: she does not forget the great Italian school of Simionato and Cossotto – every note is in its place, just like every declaimed section – and the tragic force of the song “Stride la vampa” penetrates the bodies of us spectators leaving us glued to our chairs, enraptured.”
Source: Gazza Merlina
“The second diva – in order of appearance – is the mezzo-soprano Anita Rachvelishvili: voice always powerful, compact in all registers, with a low register sometimes exceedingly sonorous, she outlines an Azucena torn between the obsessive memory of her mother's terrible death and her love for Manrico. Rachvelishvili's gypsy expresses twisted emotions, mirrors of her convoluted psychology, starting from the oneiric "Stride la vampa!" which, tackled with a resolute attitude, prefigures her vengeful intent. But it is in "Condotta ell'era in ceppi" that Rachvelishvili's powerful vocal organ and interpretative acumen reach their apex: it is a raving tale that she faces with disarming naturalness thanks to her technical mastery; more maternal and modest she appears instead in the "Sì, la stanchezza m'opprime, o figlio" duet with Manrico. Azucena is the driving force of the complex storyline; Anita Rachvelishvili, especially in the first two parts of the opera, lends to the character the dramatic power of one of Michelangelo's Prisoners.”
Source: ApeMusicale
A stratospheric vocal performance in the role of Azucena from Anita Rachvelishvili, whose sonorous voice of impressive expressiveness renders with remarkable sensitivity all the nuances of a very complex character, that fluctuates between bloodthirsty brutality and touching maternal love. Her “Stride la vampa” and later “Condotta ella era in ceppi” were much applauded by a truly exhilarated audience.
Source: Cultura e Spettacolo
You can order/listen to the album here:
https://anitarachvelishvili.lnk.to/Elegie
Vincenzo Scalera / Sony Classical / Lenø Records