9 best garancas

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Mezzo star Elina Garancac in a programme of Schumann and Brahms, the Latvian singer's first solo recital album devoted exclusively to the Lied genre, choosing works that she's been performing live on stage for many years, documenting personal interpretations of the classics. Garanca is accompanied on this album by Scottish pianist Malcolm Martineau, a sensitive and experienced musician who has long been her trusted partner in exploring these emotional sound worlds.

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The young mezzo-soprano Elina Garanca has quickly established herself as one of the music world's newest stars through her performances with leading opera theaters and symphony orchestras around the world. She has captured critical and popular acclaim for her beautiful voice, intelligent musicianship, and compelling stage portrayals. For her debut recording on Deutsche Grammophon, Aria Cantilena, Elina Garanca has selected some of her favorite arias and scenes from current and future stage roles--ranging from the coloratura tour-de-force of Rossini's Cenerentola to the sparkling wit of Offenbach's Grande-Duchesse to the emotional intensity of Charlotte's "Letter Scene" from Massenet's Werther.

Latvian mezzo-soprano Elina Garanča has quickly reached the top rank internationally. Her debut album for Deutsche Grammophon covers an unusually varied repertoire, sung in five languages. Besides the operatic material, Garanča includes a zarzuela aria, a Spanish song, and Villa-Lobos's ever-popular "Aria (Cantilena)" from Bachianas Basileiras no. 5 (hence the album's title). At any speed or dynamic level through a wide range, Garanča negotiates everything effortlessly. Such complete technical command is impressive, especially in such a young singer. It would have been even more exciting, however, to have that technique serve a truly individual vocal timbre and a specific, meaningful delivery of the words. Where are fervent Nicklausse, anguished Charlotte, sexy Isabella, and warm-hearted Cenerentola? These very different personalities come to life only intermittently in their arias. The Villa-Lobos (where Garanča isn't portraying a character and sings frequently on just "Ah") registers most strongly. DG gives Garanča terrific colleagues for the Rosenkavalier trio (sopranos Adrianne Pieczonka and Diana Damrau), magnificent support from the Staatskapelle Dresden under Fabio Luisi, and a CD booklet with eight photos of the glamorous young star. Promising she certainly is, but she still has some distance to travel artistically to deserve this kind of attention. --Roger Pines

Review

Exceptional debut from a singer surely destined to join the greats. -- Gramophone Magazine



We always knew she was good; no one ever thought she was this good. -- Opera News Online

About the Artist

ELINA GARANCA mezzo-soprano The young mezzo-soprano Elina Garanca has quickly established herself as one of the music world's newest stars through her performances with leading opera theaters and symphony orchestras around the world. She has captured critical and popular acclaim for her beautiful voice, intelligent musicianship, and compelling stage portrayals. Elina Garanca begins the 2006-07 season with a return to the Opera de Paris in performances as Sesto in La clemenza di Tito. She then returns to her home in Vienna for performances as Dorabella in Cosi fan tutte and Octavian in Der Rosenkavalier with the Vienna Staatsoper. She appears again as Mozart's Sesto in her debut performances with the Deutsche Staatsoper Berlin before concluding the season with another debut at Royal Opera House, Covent Garden in performances as Dorabella. Highlights of Ms. Garanca's performances in concert and recital this season include a European concert tour with the Orchestra of the Concertgebouw Amsterdam under the direction of Mariss Jansons, her recital debut at the Vienna Musikverein, and a solo concert tour of seven cities in Germany with the Munich Symphony Orchestra. Elina Garanca has appeared frequently with the Vienna Staatsoper including recent performances as Charlotte in a new production of Werther opposite Marcelo Alvarez, Dorabella, Octavian, Cherubino in Le nozze di Figaro under the direction of Riccardo Muti, Rosina in Il barbiere di Siviglia, and Meg Page in a new production of Falstaff. Her first performances as Sesto in La clemenza di Tito were with the Theater an der Wien. She has appeared as Dorabella with the Vienna Festwochen,and this role was also the vehicle for her return to the Salzburg Festival in a new production of Cosi fan tutte led by Philippe Jordan after her successful debut there as Annio in a new production of La clemenza di Tito under the direction of Nikolaus Harnoncourt. Audiences in Paris saw the mezzo-soprano for the first time when she made her debut in the title role of La cenerentola with the Theatre Champs-Elysees, and she soon returned for performances as Dorabella in a Patrice Chereau production of Cosi fan tutte which she premiered at the Festival d'Aix-en-Provence. She counts among her other recent successes her first performances as Adalgisa opposite the Norma of Edita Gruberova in concert performances in Baden-Baden and performances as Nicklausse for her debut in Japan with the New National Theater. She has appeared frequently in Finland including performances as Rosina and Giovanna Seymour in Anna Bolena with the Finnish National Opera and Maddalena in Rigoletto with the Savonlinna Festival. In her native Latvia, she has appeared as Rosina with the National Opera and as Giovanna Seymour on tour with the National Opera to Romania and Greece. Elina Garanca is a frequent guest with leading symphony orchestras throughout Europe. She has appeared with the Vienna Philharmonic in performances of Berg's Sieben frühe Lieder, and with the Bayerische Rundfunk in Dvorak's Requiem. She performedde Falla's Der Dreispitz at Vienna's Musikverein led by Bertrand de Billy and recently appeared in Beethoven's Missa Solemnis with the Orchestre National de France led by Kurt Masur. In 2006, she returned to the Salzburg Festival for concerts of Mozart sacred music conducted by Riccardo Muti. She is a frequent guest in Finland where she has appeared as soloist in Rossini's Stabat Mater and in a concert of Mozart arias, both with the Helsinki Philharmonic. She has also appeared in concert with the RAI Orchestra in Turin and with the Belgian National Orchestra. Ms. Garanca has a varied recital repertoire and has given solo recitals at the Helsinki Festival and the Turku Festival. Elina Garanca began her professional career as a resident artist with the Sudthuringischer Staatstheater in Meiningen where she appeared in a number of leading roles. Later, as a resident artist with the Frankfurt Opera, she appeared as Rosina, Dorabella, and Hänsel in Hansel und Gretel. Elina Garanca's appearances on television include performances of arias and songs on programs including `Klassisch!' and `Eine Grosses Nachtmusik.' In October 2006, the Foundation Europäischer Kulturpreis will award Elina Garanca a prize for her artistic achievements during a gala at the Semper Opera Dresden. The gala, including a performance by Ms. Garanca, will be broadcast on German television. Ms. Garanca's solo recording debut was a program of opera arias released by Ondine in 2001. In 2004 the mezzo-soprano recorded Vivaldi's Les Bazaget for Virgin Classics, and in 2005 she completed a solo recording of Mozart arias with the same label. Also in 2005, she recorded Rossini's Il barbiere di Siviglia with the Münchener Rundfunkorchester for Sony. Her performance as Charlotte in Massenet's Werther at the Vienna State Opera opposite Marcelo Alvarez was released on DVD on the TDK label. The same label also released a DVD of the Salzburg Festival's 2003 production ofLa clemenza di Tito which featured Elīna Garanča as Annio under the direction of Harnoncourt. In September 2005 Elina Garanca became an exclusive recording artist with Deutsche Grammophon. She participated in DG's all-star compilation `The Mozart Album', which was released in August 2006 to commemorate the 250th anniversary of Mozart's birth. Her first solo recording is slated for release in early 2007. Ms. Garanca was born into a musical family in Riga, Latvia. In 1996 she entered the Latvian Academy of Music, and since 1998 she has studied with Irina Gavrilovici in Vienna and Virginia Zeani in the United States. She won the Mirjam Helin Singing Competition in 1999 and was a finalist in the 2001 BBC Cardiff Singer of the World Competition.

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When the DVD version was released in 2010 it was the top selling Deutsche Grammophon DVD for months. It has shipped more than 37.000 units to date.



As well as triumphant successes as Carmen in London, Vienna and Munich, El na Garan a, the Carmen of our day (News, Austria), took New York s Metropolitan Opera by storm in this Met Live in HD performance, transmitted to cinemas around the world and now available for the first time on BluRay.



Every generation has its must see Carmen. The list of definitive gypsy seductresses is now enriched by the Carmen of our time - El na Garan a.



Starring alongside her is star tenor Roberto Alagna as Don Jose, Barbara Frittoli as his first love Micaëla and New Zealand baritone Teddy Tahu Rhodes as the toreador Escamillo. The Metropolitan Opera Orchestra is conducted by rising star Canadian maestro Yannick Nezet-Seguin.



The Wiener Zeitung said it all when it observed of Garan a s Carmen that the role and the singer are perfectly matched .



Extra material: Backstage at the Met with host Renee Fleming: Interviews with El na Garan a and Roberto Alagna as well as with Yannick Nezet-Seguin, Barbara Frittoli, Teddy Tahu Rhodes and Christopher Wheeldon

Review

I have never seen the final scene, in which the crazed Don Jose stabs the fatalistically defiant Carmen, executed with such stunning realism, a dangerous mingling of sex, rebellion and violence: the very essence of Carmen. --The New York Times

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El na presents a beautiful selection of spiritual music dedicated to the eternal search and longing for inner peace. Its perhaps one of her most personal albums ever which connects the listener with El nas Latvian roots



El nas parents were involved with choral music, she grew up listening to this music and sang herself in choirs as a young musician, so it is a very important album to her personally, celebrating the origins of her own singing career



The album includes a couple of real discoveries like Prauli Dievaines, but also some hit repertoire like the Cantique de Noel d Adam. This is probably her most commercial album to date, the careful selected variety of the repertoire will attract a lot of new fans



Latvian choirs are extremely famous worldwide, so it was natural for her to want a Latvian choir with her for this recording



Two Latvian composers have been involved in the music for this recording U is Prauli for his work Dievaines, and Eriks Esenvalds who has written an a cappella arrangement (Allegri Miserere) especially for this recording



El na is joined on this recording by her husband, the well-known Gibraltan conductor Karel Mark Chichon OBE. This is their second collaboration on disc for DG following the success of Habanera

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In her first complete departure from core repertoire, Elina Garanca releases Sol Y Vida. A journey to the Southern hemisphere, from Spain to Italy and Latin America, the album features a selection of songs, canzone and tango pieces. Highlights include Piazolla's "Yo soy Maria," originally part of a tango operita and "Gracias a la vida." Garanca is joined by Karel Mark Chichon and his Orquesta Filarm¢nica Gran Canaria as well as guitarist Jose Maria Gallardo del Rey.

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2009 release. Elina Garanca follows her exceptional debut splash, Aria Cantilena, with bel canto solos and ensembles featuring guest luminaries like Ildebrando d'Arcangelo. Flawless coloratura and a 'one-in-a-million' mezzo (The Independent) make this exciting young artist ideal for this repertoire. Balancing familiar numbers and ensembles with little known treasures by Bellini, Donizetti and Rossini, Elina rides bel canto's vocal acrobatics and spun out melodies through an emotional spectrum to unforgettable effect Universal

Review

"Ms. Garanča has all the goods: musicality, technique, voice, confidence, smarts, dramatic range - and movie-star looks. She practically defines `can't miss'. And in her Met debut on Saturday night, she did not miss . . ." -- New York Sun

From the Artist

ELĪNA GARANČA SINGS BELLINI, DONIZETTI & ROSSINI In conversation with Nick Kimberley, the Latvian mezzo-soprano talks about giving individual life and colour to bel canto characters and music.Elīna Garanča has an enviable reputation for the purity of her tone, her ease with the most taxing vocal demands, and the breadth of her repertoire. On this collection, she focuses on a particular style and period: Italian opera from the first half of the 18th century. Not for nothing is this repertoire known as bel canto: "beautiful singing". Elīna Garanča has selected pieces by the three greatest Italian composers of the day, whose music offers rich rewards for the modern mezzo-soprano with a flair for high drama. NK: Not every mezzo-soprano rises to the challenge of singing bel canto. When did you first become aware that this repertoire suited your voice? EG: Bel canto has followed me from the very beginning of my studies. My first teacher at the Riga Academy, a Russian woman, told me that she thought my voice was particularly suited to bel canto. It was at the very beginning of my career and I couldn't really sing anything, but she heard that the colour of my voice and its timbre were right for that repertoire. How did you select the pieces for this collection? This CD has been a long time coming, but that gave me the opportunity to look very carefully at the music. I went to a library in Vienna, for example, and looked at autograph manuscripts; and Deutsche Grammophon sent me music, lots of it: I remember receiving one package that had the scores of 20 different operas. So I looked through page by page, checking the arias, the duets, the ensembles, working out how the music would fit my voice. There is so much absolutely gorgeous music from these composers that we don't know. It's true to say that these operas are often very difficult to cast. You don't only need a great soprano and mezzo-soprano, you also need a very good tenor and a very good bass. There are not too many singers whose voices are suitable, who know the bel canto tradition and style, and who can be convincing onstage. Is it difficult to make the music come alive when you're only performing a brief excerpt from an opera, not the whole piece? I never go into the recording studio without having tried the piece out in the concert hall or the opera house. It's an interesting challenge with a CD such as this to try to give every aria a different quality, because every piece by Donizetti, Bellini or Rossini has its own specific dramatic idea, and in each opera there is a particular reason why this aria or that duet is sung at that particular moment. Within the idea of beautiful singing and a beautiful line, the singer still has the opportunity to give colour to the different phrases and to the different emotions. That is part of the pleasure of singing these pieces. Even in a recording such as this, you want the listener to see the faces, see the reactions, simply by listening to the music. You're a mezzo-soprano, which in bel canto sometimes means that you take male roles, as we hear on this CD in the excerpts from, for example, Lucrezia Borgia and I Capuleti e i Montecchi, which you've just recorded complete for Deutsche Grammophon, singing Romeo. Is it difficult for you to play men? At the moment that I go into the theatre and put the costume on, I become the character that I'm performing. I don't think to myself, "Oh my God, I have to play a man." I go out and I'm in the dramatic situation, I hear the music, I know what I'm singing, and at that very moment I am Romeo or whoever it is. I like to observe people and situations, and in rehearsal there are certain physical details that I pay attention to. Perhaps that helps me create a character which is more manly, and I certainly enjoy that. On the other hand, I truly believe that every woman has a masculine side and that every man has a feminine side, and it's fun to test that part of myself onstage, to try to imagine how a young man might react in that situation. Are there singers from the past that you admire in bel canto? As a student at the age of 17 or 18 I had Joan Sutherland's recording of "Casta diva" from Bellini's Norma. I used to play it in my apartment with the windows open, and the neighbours would scream at me to shut up. Of course everyone speaks about Maria Callas in this repertoire, but if I had to choose just one singer, it would be Beverly Sills. A friend had several recordings of her singing bel canto and there was something in the way she sang that completely convinced me. It blew me away, and I still have her recording of Donizetti's Anna Bolena on my iPod. Beverly Sills was a soprano. Would you like to have been a soprano? That struggle to define myself and my voice is still going on: not for me but for other people. Some people tell me that in a few years I will become a soprano; one person will say that I'll become a dramatic soprano (as did Birgit Nilsson at a singing competition in Finland in 1999, when she told me I would probably follow in her footsteps, perhaps even as far as Wagner), another that I'll be a lyric soprano, which is an idea that really surprises me. Then other people tell me that when I have a baby, my voice will sink and then I'll become a dramatic mezzo-soprano. In any case, I don't want to push myself. I don't want to pigeonhole my voice, or try to work at making it bigger or lighter. My voice is as it is, and I'm trying to guide it the way that I feel it wants to go.

12/2008

About the Artist

Elīna Garanča was born in Riga in 1976 into a musical family. In 1996 she entered the Latvian Academy of Music in Riga. One of her most formative experiences came in 1998 while she was still a student: with only ten days' notice, she performed the role of Giovanna Seymour in Anna Bolena and uncovered a deep affinity with the bel canto repertoire. After graduation she joined the Meiningen Staatstheater in Germany where she appeared in roles including Octavian in Der Rosenkavalier. In 1999 she also sang the role of Maddalena in Verdi's Rigoletto at the Savonlinna Opera Festival and won the Mirjam Helin Singing Competition in Finland. She has since appeared at the world's major opera houses and concert venues and established herself as one of the music world's newest stars thanks to her beautiful voice, musicianship and compelling stage portrayals. In 2006 she received the European Culture Prize during a gala at the Frauenkirche in Dresden which was broadcast on German television; in 2007 she was honoured with an Echo Award for Aria cantilena - her first solo recording for Deutsche Grammophon, and the Three-Star Order from the Latvian State. 2000 Wins the Latvian Great Music Award. Moves to the Frankfurt Opera where roles in her first seasons include the Second Lady in Die Zauberflöte, Hansel in Hänsel und Gretel, and Rosina in Il barbiere di Siviglia 2001 Finalist in the BBC's Cardiff Singer of the World Competition. Makes her solo recording debut: a programme of opera arias 2003 At the Vienna State Opera: Lola in Cavalleria rusticana, Orlofsky in Die Fledermaus, Meg Page in a new production of Falstaff, and Rosina in Il barbiere di Siviglia. Salzburg Festival debut as Annio in La clemenza di Tito. Sings Dorabella in Così fan tutte in Frank¬furt. Appears as Rosina and as soloist in the Stabat Mater at the Helsinki Opera's Rossini Festival. Nicklausse and the Muse in Les Contes d'Hoffmann in Tokyo. Guest appearance for Deutsche Grammophon when she joins Anna Netrebko in a scene and cavatina from Lucia di Lammermoor on Netrebko's debut album Opera Arias 2004 Dorabella, Meg and Rosina at the Vienna State Opera. Dorabella at the Salzburg Festival. Bellini's Adalgisa (with Edita Gruberova as Norma) at Baden-Baden. Rossini's Ceneren¬tola in Paris at the Theâtre des Champs-Élysees. Performs Alban Berg's Seven Early Songs under Philippe Jordan at the Vienna Konzerthaus 2005 At the Vienna State Opera: debut as Charlotte in Werther, Rosina and Meg Page. Dora¬bella at Aix-en-Provence and for her debut at the Paris Opera-Palais Garnier. Concerts in Lucerne and Graz 2006 Triumphs as Octavian at the Vienna State Opera and as Sesto in La clemenza di Tito at Vienna's Theater an der Wien. Further performances as Octavian, Rosina, Cherubino, Dorabella, Sesto and Charlotte in Vienna; Sesto in Paris. Two concerts of Mozart arias with Sir Roger Norrington and one of Mozart's sacred music with Riccardo Muti at the Salzburg Festival; Beethoven's Missa solemnis with the Orchestre national de France under Kurt Masur. Recitals at the Schubertiade in Schwarzenberg. Appears on The Mozart Album in all-new recordings of Mozart arias sung by Deutsche Grammophon's star singers including Anna Netrebko, Thomas Quasthoff, Rene Pape and Bryn Terfel, and released to tie in with the opening of the Salzburg Festival 2007 Elīna Garanča's opera appearances include Rosina, Cherubino, Dorabella, Octavian, Char¬lotte and Adalgisa at the Vienna State Opera; debut performance at the Berlin State Opera as Sesto; debut performance at London's Royal Opera House, Covent Garden in the role of Dorabella; role debut as Carmen at the Latvian National Opera in her native Riga. Elīna Garanča goes on tour with the Concertgebouw Orchestra under Mariss Jansons singing Berio's Folk Songs in Amsterdam, London, Paris and Vienna. Elīna Garanča appears in three gala concerts with Anna Netrebko, Ramón Vargas, Ludovic Tezier, and the SWR Symphony Orchestra under Marco Armiliato, the third of which is broadcast on German television to an audience of over two million and recorded live for audio and video release (The Opera Gala - Live from Baden-Baden). Her first solo recording for Deutsche Grammophon, Aria cantilena, with highlights from some of her celebrated operatic roles accompanied by the Dresden Staatskapelle under Fabio Luisi, is released to great critical acclaim (Echo Award 2007); the release is supported by a German tour with this repertoire together with the Munich Symphony Orchestra under Heiko Mathias Förster. Elīna Garanča is awarded the Three-Star Order by the Latvian State 2008 The year begins with Garanča's sensational Met debut as Rosina in Il barbiere di Siviglia. She gives her role debut as Romeo in concert performances of Bellini's I Capuleti e i Montecchi in Riga, Latvia and repeats the role in Vienna alongside Anna Netrebko, with the Vienna Symphony Orchestra under Fabio Luisi (recorded by Deutsche Grammophon for release in 2009). She sings Octavian at the Deutsche Oper in Berlin, Adalgisa at her debut in Munich's Bavarian State Opera where she also appears as Charlotte, and makes her role and house debuts as Marguerite in Berlioz's La Damnation de Faust in Geneva's Grand Theâtre. Concerts include Mahler's Third Symphony at the Vienna Musikverein, Berio's Folk Songs with the Berliner Philharmoniker under Mariss Jansons at the Philhar¬monie, Ravel's Sheherazade with the Lucerne Festival Orchestra and Claudio Abbado, and Berlioz's Les Nuits d'ete with the Wiener Philharmoniker led by Mariss Jansons at the Salzburg Festival. She also gives a solo concert at the Opera Festival in St. Margarethen, Austria, and participates in the "Weltstars der Oper" (Opera Stars of the World) concert in the Austrian stadium Hohe Warte, in a gala concert at the Instanbul International Festival, and gives several performances at the Festival del Sole in Napa, USA 2009 Garanča follows up her first successful solo recording with Bel Canto, a collection of arias and ensembles. In the new album of Bellini's I Capuleti e i Montecchi she sings the role of Romeo (with Anna Netrebko as Juliet) - both are released early in the year. Engagements include Octavian in Der Rosenkavalier at the Vienna State Opera, Romeo in Bellini's I Capuleti e i Montecchi with Anna Netrebko and Carmen at Covent Garden, Romeo in Berlin, Angelina in Rossini's La Cenerentola at the Met, and Charlotte in Massenet's Werther in Vienna and Baden-Baden with Rolando Villazón. She tours Europe with the Basle Chamber Orchestra, and Germany with the Neue Philharmonie Westfalen