Вышла статья о китайской певице By Хуан, участвовавшей в записи и первой Гала премьере оперы Роджера Са Ира.
В статье также заходит речь и о самой опере.
Вот текст самой статьи
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Young Chinese soprano finds her vocal home with Mozart
By Lawrence A. Johnson
South Florida Sun-Sentinel Classical Music Writer
February 20, 2006
Overnight success is a rarity in the world of opera. Most singers
toil for a long time in obscurity, stuck in small roles for years
before attaining even a small degree of success or public recognition.
And then there's Ying Huang. At the age of 22, just two years out of
the Shanghai Conservatory, the Chinese soprano was selected from more
than 200 singers to tackle the role of the doomed Cio-Cio San in
Frederic Mitterand's acclaimed film version of Puccini's Madama
Butterfly.
"It was great," said the singer, "I was so lucky. But in the last 10
years it was not easy because I had to re-prove myself as a Mozart
singer."
It is in that repertoire that Huang will return to South Florida,
taking on the role of Pamina in Palm Beach Opera's production of
Mozart's The Magic Flute, which opens Friday night at the Kravis
Center.
Produced for French television in 1995, Mitterand's evocative,
gorgeous version of Puccini's tragic love story remains one of the
finest and most effective cinematic operas ever produced. But apart
from the visual splendor, what makes the film so compelling is
Huang's extraordinary performance.
Her light lyric voice has a purity and radiance that touchingly
conveys the searing emotions of the tragic Japanese heroine. Yet even
more affecting is the subtle sensitivity of her acting. Huang's heart-
breaking performance is all the more astonishing considering she not
only never acted before in a film but had never sung the role.
The film was quickly broadcast around the world, on the BBC in
England and on PBS in the United States. Yet, paradoxically, while
Huang suddenly found herself internationally renowned for her
portrayal of Butterfly, it is a vocal part she is unsuited for and
has never sung on stage.
Following her success in Puccini, the singer was inundated with
offers from opera houses to sing Madama Butterfly, along with other
proposals, including a Miss Saigon on Broadway, all of which she
turned down.
Instead, she found it necessary to basically reinvent herself as a
Mozart/Strauss singer. "As you know I'm a lyric-coloratura soprano,"
said Huang. "More lyric now. I'm learning the Kathleen Battle
repertoire -- Mozart, Strauss and Handel -- and developing my Mozart
style."
Light and silvery in timbre, Huang's lyric instrument lacks the power
for heavier dramatic parts like Butterfly in the theater. Her soprano
is much more fitting for the lighter, more flexible, roles, which she
currently sings.
"The voice is very pure," said Kamal Khan, Palm Beach Opera's
resident conductor and chorus master, who will be conducting these
Mozart performances. "It's really one of those porcelain, gently
radiant sounds. She's done Susanna and Zerlina, but she really has
something more pure in her voice that's ideal for Pamina."
"She's a beautiful singer, a gentle kind of artist with a very strong
core in the middle," Khan said. "I'm very excited that she is here."
The spiritual quality of her voice is also apt for other non-opera
assignments, such as Mahler's Symphony No. 4, which she sang with
Michael Tilson Thomas and the New World Symphony in 2003.
Though she has sung Despina, the cynical maid in Cosi fan tutte, and
Zerlina in Don Giovanni, she has become much more at ease in the role
of Pamina, the Magic Flute heroine, which she has performed on three
previous occasions.
"It requires the long line and musicality," said Huang. "I think my
voice is developing right now and I feel more comfortable singing
this character. You know, Pamina is supposed to be the princess and
pure and wise. I think I have some of those qualities."