VIVICA GENAUX,
mezzo-soprano
VIVICA GENAUX
mezzo-soprano
ARIAS
by HANDEL / HASSE
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What the critics said...
of her other TROUSER ROLES
| of her Nerone in Scarlatti's OTTAVIA RESTITUITA AL TRONO: | ||
| at
Cappella della Pietà de’ Turchini in San Sebastian, Spain: The highest musical level of the evening was reached in the Second Act duets, which highlighted the superb qualities of the artists, particularly Vivica Genaux with her rock-solid technique. - J.Á. Vela del Campo, El Pais, August 8, 2007 The singers shone brilliantly. Vivica Genaux, with her elegant, modest-sized voice, did not in any way let down her fans who have come to admire her from her many recordings. - Mikel Chamizo, Gara.net, August 8, 2007 Vocally, it was a most fascinating night. The North American mezzo Vivica Genaux’s fame preceded her and she gave a most powerful portrayal of Nerone, supported by her outstanding technique…” - A.U., DiarioVasco.com, August 7, 2007 |
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| of her Neocle in Rossini's L’ASSEDIO DI CORINTO: | ||
at
Baltimore Opera: The
singing of Futral, Genaux and Bruce Ford together created a rare and gripping
synergy.”“Genaux’s dynamic range and show-stopping arias
brought her gifts as an artist to the fore.” - Karyl Charna Lynn, Opera Now, March/April 2007 By chance, the cast assembled in Baltimore comprised two very high-flying Rossinians. With rare theatrical credibility, Vivica Genaux portrays a marvelous Neocle, effortlessly deploying impeccable line and vocalises that are as bold as they are meaningful. - David Shengold, Opéra Magazine, January 2007 (Also) outstanding was mezzo-soprano Vivica Genaux in the trouser role of Neocle, Pamira’s fiancé. Genaux owned the first part of the otherwise emotionally dead third act with magnificently sung praise of Pamira for returning to Corinth to die.” - Mark J. Estren, The Washington Post, October 24, 2006 ;She was outstanding as the male suitor (pants role) with richness in her voice and all the mannerisms of a young man.” Nancy McCord, allartsreview4u.com, October 17, 2006 I was most interesting in hearing her [Futral’s] co-star, American mezzo-soprano Vivica Genaux, in the role of Neocle. I wrote glowingly of Genaux's work on the recent recording of Vivaldi's Bajazet, and she and Futral just shared the stage in the New York City Opera production of Handel's Semele.” Genaux does not have an overpowering voice, and recording may favor her strengths slightly over live performance on the stage. It did not seem to matter much Saturday night as Genaux delivered a convincing man-like performance of the trouser role of Neocle... Genaux's rendition of ‘Non temer’ – an aria from the Naples version of the opera, inserted into Act III for Neocle and made famous by Marilyn Horne -- was rich and electric.” - Charles T. Downey, ionarts.org, October 16, 2006 In Vivica Genaux, the role has a most persuasive proponent. Her voice, a little small, but beautifully rounded and agile, handled Neocle’s long Act 3 scene with technical aplomb and expressive flair. Hearing Futral, Genaux and Ford sing the trios in Act 1 and, especially, Act 3 was a particular pleasure Saturday night, as much for the bel canto warmth of the vocalism itself as for the eloquence and depth of the expression.” - Tim Smith, Baltimore Sun, October 16, 2006 Vivica Genaux delivered a striking performance as Neocle. She did not make a big sound, but her voice an admirably rounded, backed by a firm technique, agility and, above all, expressive insight. She made the grand ‘Non temer’ in Act III quite gripping. The tenor [Bruce Ford] blended eloquently with Futral and Genaux in the exquisite trios, which found all three singers really putting the bel in bel canto.” - Tim Smith, Opera News Online, October 14, 2006 Photo: © DeFilippi / Baltimore Opera |
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| of her Sesto in Handel's GIULIO CESARE: | ||
| at
San Diego Opera: Cornelia and Sesto, the tragic figures in this story, were deftly portrayed by mezzo sopranos Suzanna Guzmán and Vivica Genaux. Genaux, who has incredibly precise coloratura, sang the arias given to Cornelia's son, Sesto, with dazzling agility.” - Maria Nockin, musicandvision.com, May 7, 2006 Acclaimed worldwide for such “trouser roles,” and well known to SDO audiences, mezzo soprano Vivica Genaux brilliantly sings her first Sextus, a young man bent on defending his widowed mother, Cornelia (mezzo soprano Suzanna Guzman). Scenes between Genaux and Guzman are rife with vocal beauty and touching filial/maternal devotion. - Charlene Baldridge, La Jolla Village News, April 20, 2006 Standout musical scenes include the lovely first-act duet "Son nata a lagrimar" sung in beautiful harmony by Genaux and Guzman. - Pam Kragen, North County Times, April 19, 2006 With Sextus, the American mezzo-soprano Vivica Genaux adds a role to her repertoire which fits her like a glove. With her androgynous looks, her lovely face, her precise singing with its own personal timbre, as well as her committed acting, she makes her character totally believable. In addition, her physique is perfect for the elegant costumes of Michael Stennett, which she wears with the ease of high-style fashion model.” - Brigitte Cormier, Forum-Opéra, April 18, 2006 In terms of pathos, nothing surpassed the mother-and-son farewell scene by mezzo-soprano Suzanna Guzmán (as the widowed Cornelia) and mezzo-soprano Vivica Genaux (as Sextus). Their duet ‘Son nata a lagrimar’ was an emotional high point, radiating intensity. - Valerie Scher, San Diego Union-Tribune, April 17, 2006 Genaux would be impossible to fault. It is safe to say, she energized the entire production every time she came on stage. Musically this artist is amazing. Her beautiful voice is even from one end of the compass to the other, and she does not aspirate à la Cecilia Bartoli. Genaux never sounds like a machine gun in those wildly rapid vocal passages. And Genaux passionately embodies her character – which is astounding in the case of Sextus, who, in any synopsis of the story, seems like so much irrelevant dead weight. Forget that! Genaux makes this two-dimensional, fiery, vengeful youth into a real human being. - David Gregson, sandiego.com, April 16, 2006 |
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| of her Bradamante in Handel's Alcina: | ||
| at
the Opéra National de Paris – Palais Garnier: Vivica Genaux was a Bradamante with impeccable coloratura. - Philippe Thanh, Orpheus, Sep./Oct. 2004 Some of the most stylish Handel singing of the evening came from the light voiced Bradamante of Vivica Genaux, with thrillingly accurate coloratura and firm legato… - Stephen Mudge, Opera News, August 2004 Only Vivica Genaux managed to escape unharmed: with coloratura, diction, evenness of tone, she embodied a youthful, determined and heartwarming Bradamante. - Philippe Gelinaud, Opéra International, June 2004 Vivica Genaux as Bradamante has an impeccable vocal technique. - Philippe Thanh, La Lettre du Musicien, June 2004 Vivica Genaux [sang] with consummate mastery. - Pierre-René Serna, Scènes, June 2004 Vivica Genaux had confessed to Forum Opera that she adores both travesty roles and high heels. Thus she happily takes on the ambiguity of Bradamante, the loving woman disguised as a knight. Her virtuosity is impressive above all. Her ‘Vorrei vendicarmi’ could be included in the recorded homage she made to Farinelli. Her velvety timbre couldn’t possibly be confused with that of her lover, the inconstant Ruggiero, sung by Vesselina Kasarova. - Christoph Rizoud, Forum Opera, May 2004 Genaux is a good foil to Kasarova, a drier, more even sound and phenomenal control at speed. - NPW-Paris, May 31, 2004 …Vivica Genaux, a seductive Bradamante. - David Stevens, International Herald Tribune, May 26, 2004 The pyrotechnics required of Bradamante hardly faze Vivica Genaux — ‘Vorrei vendicarmi’ is carried out with dazzling aplomb. She carries off her pants-role with rare elegance. - Yutha Tep, Altamusic.com, May 16, 2004 Vivica Genaux is equal to herself; that’s to say she’s impressive every time one hears her, due to the spectacular quality of her coloratura, performed at a very rapid tempo and with meticulous exactitude. Her high notes never cease to shine and the florid passages are like rays of sunshine. - Manon Ardouin, ConcertoNet.com, May 15, 2004 Luba Orgonasova as Alcina was ably seconded by Vivica Genaux, a seductive Bradamante. - David Stevens, International Herald Tribune, May 26, 2004 |
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| of her Orsini in Donizetti's Lucrezia Borgia: | ||
| at
Minnesota Opera: It’s a strong cast all around. Vivica Genaux brings her customary vocal aplomb to the ‘pants role’ of Orsini, making him a more sensitive character than is customary in this part. - Michael Anthony, Star-Tribune (Minneapolis, MN), January 26, 2004 Completing the quartet of outstanding principals are a sweet-voiced Bruce Ford and the always first-rate Vivica Genaux. - Rob Hubbard, Pioneer Press (St. Paul, MN), January 26, 2004 at the Caramoor Festival: As Orsini, the remarkable mezzo-soprano Vivica Genaux, who scored a triumph last season at Caramoor in Rossini’s ‘Donna del Lago’ was remarkable again. Her voice is vibrant, flexible and interesting. She sings with technical ease and dramatic incisiveness. Her scintillating and sensual performance of the drinking song in the final scene made this music seem a clear model for Eboli’s ‘Song of the Veil’ in Verdi’s Don Carlo. - Anthony Tommasini, The New York Times, July 20, 1998 As in last year’s ‘La Donna del Lago,’ the star of the show was Ms. Genaux, whose dusky, burnished timbre and sparkling vocal flexibility lit up the stage. (It also didn’t hurt that she is lithe and attractive – tight black satin pants, stratospheric heels and a white vest with a plunging neckline – [and she] made the most of those attributes.) - Heidi Waleson, The Wall Street Journal, July 27, 1998 |
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| of Handel's Arminio | ||
at the Concertgebouw - Amsterdam, THE NETHERLANDS Before beginning her run of performances as Rosina at the Netherlands Opera [earlier this season], American opera star Vivica Genaux admitted that although she likes to sing Rossini, she was eager to return to the masters of the Baroque period. Saturday, her performance in the title role of Handel’s Arminio demonstrated why. Ms. Genaux possesses an exceptional virtuosity, particularly in the lowest register of her voice, and that, combined with her natural theatricality, makes her an ideal choice for such a role. The mezzo Vivica Genaux, born in Alaska and already known for her recent appearances as Rosina at the Netherlands Opera, sings the title role of Arminio with great subtlety and ease. - Aad van der Ven, Haagsche Courant, December 4, 2000 at Accademia Musicale Chigiana -- Siena, ITALY One could not have failed to notice the rising young American mezzo-soprano Vivica Genaux, who comes from Alaska. Her voice has a wonderful dark timbre, is exciting and electrifying with a well-balanced depth of tone. Her pitch is impeccable and she sings superbly in both aria and recitative. - Renaud Machart, Le Monde, July 30, 2000 Particularly notable in this talented cast is the mezzo-soprano Vivica Genaux, who is an Arminio of outstanding musical intelligence and sings with beautiful phrasing and a smooth musical technique. - G.M., La Republica, July 28, 2000 As the protagonist Arminio, Vivica Genaux displayed excellent vocal abilities. She is truly outstanding. - Giangiorgio Satragni, La Stampa, July 28, 2000 |
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| of her Arsace in Rossini's Semiramide: | ||
at the Minnesota Opera 
Mezzo
Vivica Genaux made an intense Arsace, singing with the agility and richness
of tone that recalled the young [Marilyn] Horne- Michael Anthony, Minneapolis Star Tribune, 4/20/00 The skyrocketing young mezzo Vivica Genaux sang Arsace, Semiramide’s son. She delivered her several arias with grand effect and was the mainstay of every scene she was in, both dramatically and vocally. - John Koopman, Opera, June 2000 Genaux has a fascinating voice and a bel canto technique that puts the rest of the cast in her shade. Her Act II duet with [Brenda] Harris [as Semiramide] was a lovely blending of voices. - Jay Furst, The Post Bulletin (Rochester, MN), April 10, 2000 |
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| of her Hassem in Donizetti's Alahor in Granata: | ||
in
Sevilla, Spain with the Orquesta Ciudad de Granada/Sevilla:
One
encountered a sensational singer discovery performing the pants role
of Muley Hassem: American mezzo-soprano Vivica Genaux was exceptionally
impressive with elegant vocal execution and flexible coloratura technique. - Manuel Guerrero, Diario de Andalucía, October 27, 1998 The voice of the American Vivica Genaux, in the role of Muley Hassem, is most pleasing in timbre and color particularly in her adept execution of the role’s many vocal ornaments. - Ramón María Serrera, ABC Sevilla, October 25, 1998 |
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| of her Malcolm in Rossini's La Donna del Lago: | ||
at the Caramoor Festival: Vivica Genaux, a velvet-voiced, Alaska-born mezzo-soprano who sang the trouser role of Malcolm, scored a triumph. This slender singer puts the lie to the notion that operatic voices require bodily heft to have size and carrying power. Her technical command is complete; her phrasing, supple and poignant. - Anthony Tommasini, The New York Times, July 23, 1997 Malcolm’s entrance aria with its knockout cabaletta, ‘O quante lagrime,’ put Vivica Genaux squarely in the spotlight, and the Alaskan mezzo delivered with flawless technical command of the florid runs, a dark Horne-like sparkle to her sound, rhythmic flexibility, depth of feeling and a vivid stage personality. - Heidi Waleson, The Wall Street Journal, July 29, 1997 The biggest delight of the evening was the spectacular Vivica Genaux as Malcolm; the thunderous ovation following ‘Mura felici’ surely must be a ‘star-is-born’ moment. This is singing that is not only brilliant and exciting, but musically expressive as well. La Genaux’s instrument is something special: wine-rich below the staff, fleet in midrange, and thrillingly pingy all the way up to a high-B. In short, this artist has all she needs to be a very big star, indeed. - James Jorden, Parterre Box, October 20, 1997 |
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