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2023-11-10 09:02:00
Never a dull moment: Edward Lambert's Masque of Vengeance, a taut and driven new opera based on Thomas Middleton's 17th-century play, The Revenger's Tragedy
[…] the importance of the female roles and compressed the action into a taut and driven eighty minutes in which there is very little dead time. Powered along by a dynamic, pulsating score for piano duet, with soaring bel canto vocals and dramatic recitatives, there was never a dull moment to be experienced.Edward Lambert: Masque of Vengeance - The Music Troupe (Photo: Claire Shovelton)Opening the drama, mezzo Leila Zanette (in her double role of Vindicio and Caria) was the main protagonist and instigator of the action, and her voice, with clear diction, strong characterisation and a ringing, dramatic head register seemed well suited to the devious and deceptive nature of her role as an obsessed agent of revenge. Equally convincing in his obsessive ambition, and lust for his stepmother, tenor Lawrence Thackeray was an outstanding and lecherous Spurio, the king's illegitimate son, allowing the naturally darker tones of his voice to […]
2019-07-10 06:59:24
A real delight: Handel's Rival queen's brought to life
[…] Carlo Pollarolo, Johann Adolph Hasse, Nicola Porpora, Giuseppe Maria Orlandini, Antonio Vivaldi, Pietro Torri, Leonardo Leo, Giovanni Bononcini, Leonardo Vinci, Attilio Ariosti and Maurice Greene. The advantage of the disc is the way it has cast its net widely. The two sopranos stay in London co-incided with Handel's prime and an entire disc could be assembled of his music for them, but this is a more balanced picture. We get Bononcini's Astianatte and Ariosti's Caria Marzio Coriolano written for London's Royal Academy of Music by composers who were Handel's peers and rivals, a valuable corrective to the fact that we often concentrate on Handel's influence at the Academy at this period. We hear an aria by Leonardo Vinci in Handel's version from his pasticcio L'Elpidia, pasticcio being an important way of filling the schedule and also providing an outlet for music by the younger composers from Italy. The disc […]
Norman Lebrecht - Slipped disc
2017-08-31 12:45:55
They have waited until the last minute in the hope that Dmitri Hvorostovsky might make a spectacular comeback but Vienna has now accepted that his severe illness means the Russian baritone will sing no more opera. Taking his place in Un ballo in maschera in the first half of November will be Marco Caria, a young Sardinian who has been singing in Vienna since 2010.
2017-01-27 17:57:37
Does whatever a spider can
[…] Silvia Tro Santafé honorably serves the recessive Sara without making it seem a grateful role, as has been achieved by the best of my experience. The Spanish mezzo’s sound is dark-tinged and can fog over with chesty resonance, and there is more of a throb to the tone than I remember from a Dulcinée I heard several years ago. The voice is a healthy one, with registers well integrated and technique secure. Italian baritone Marco Caria sings attractively if stiffly as the Duke of Nottingham. One hears of singers who “caress” music; Caria props it up and ministers to it, more caretaker than lover. One enjoys the sounds he makes while wishing he would relax, “give” (in the sense of musical flexibility, not emotional generosity) a little more. His rigid, correct posture carries over in handling of line. He replaced the scheduled Mariusz Kwiecien, so perhaps these are not ideal […]
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