Marina Poplavskaya Fails to Impress at Tchaikovsky Hall

"In the Tchaikovsky Hall was a concert soprano Marina Poplavskaya - the one most quoted is online famous western scenes of domestic divas. The singer appeared with the orchestra of the Bolshoi Theater....Less glossy hype than for La Netrebko, but it is really impressive demand, as well as an intriguing versatility, declared from the very beginning. Belkantovye queens of Donizetti and Verdi's dramatic party, Rimsky-Korsakov and Puccini, and another drop of the Baroque (she sang with Theodore Currentzis Belinda in Dido and Aeneas Purcell) and a bit of Wagner (Third Norn in Götterdämmerung). In short, nothing prima donna assoluta, for which there is neither repertory nor tessitura obstacles. But the launch of its present-day Moscow concert discouraged. The impression of Matilda's aria from Guillaume Tell Rossini singer greased colorful tone unstrung, hacking, and top notes of muffled sounds. Well, let's not raspelas, but then there was another smash hit once, and now a rarity - Isabella's cavatina from Robert le diable Meyerbeer, where no qualitative leap has not happened. For Marina Poplavskaya is not a problem of depth and penetrating power, it is beautiful sound and Mills parades elegant pianissimo, it is in the middle of the range is really memorable, entailing the nobility of tone, in addition, it is artistically without affectation, and enumerates the styles with adequate certainty. However, the picture of undisputed maestro of all this is in no way willing to take shape. Perhaps the best were two imposing Verdi Room, "Toi qui sus le neant" Elizabeth, from Don Carlos and the final scene of Desdemona

from Otello. Also not ideal - in Elizabeth ever did, and yell, and dilute the persistent tone portamento, but still the character of the party is clearly more comfortable for her. But Desdemona (by Marina Poplavskaya in 2008 sang with Riccardo Muti in Salzburg) has turned out much closer to the model - and not just pure technique, and even that little old-fashioned, but beautifully made until nuance little things 'Theatre,' which stood out in the vocals. Ironically, the last Russian disappoint prepared block. If a small aria from Francesca Francesca da Rimini, Rachmaninoff's lack of warming up and prunes phrasing looked more likely reason for the arraignment, the scene of writing is objectively Tatiana was annoyed at that: in the interpretation of the singer's spectacular, but heavy, sounded appeared out of nowhere constraint , the lack of organic and elemental tonal clarity. Speak in such cases, the general words about the lack of good schools, which theoretically could result in malfunctioning vocal and worse - the last thing, but there's one, and in addition to logic-chopping can judge the taste that ultimately outweighs: spontaneous, natural shades of a rare game, but not completely faceted voice or is it carefully, uniformity and orderliness." [Source]