 |
|
|||
 |
It is impossible to show any more than a sample of reviews of performances. Valerie Watts as the beautiful and tragic Aida is quite stunning. “O Patria Mia” is a gruelling test for any Aida. It found Valerie Watts technically secure with a voice that showed considerable warmth and delicacy in tender passages. She acted convincingly. This “Norma” is a worthy revival largely because of the singing of the title role. Valerie Watts' love obsessed priestess, has a keen dramatic sense, great musicality and knows how to deploy her vocal resources to best effect. Perhaps it is just as well, as she has the role, one of the most demanding in all opera, to sing three times this week. Valerie Watts in the title of Fanny Robin by Edward Harper sang with range and radiance (Daily Telegraph) Valerie Watts is a very appealing singer and made a gentle and pathetic Liu.
(Daily Telegraph) Valerie Watts as the ill-fated Norma has a beautiful soprano voice which she uses consistently to fine effect in a long and emotionally demanding role. Everything is played with a pure intensity of feeling so outstanding that it is no surprise to learn she has studied professionally. Aida's credibility rests largely upon the quality of the female principals and here Valerie Watts in the title role maintained consistently high levels of singing and dramatic power. Valerie Watts offered a vividly contrasting study of the self sacrificing Liu. Coached in the role Bellini’s “Norma” by Kenneth Cleveland of English National Opera, Valerie Watts delivered on her first night in Manchester, a performance of sustained, dramatic coloratura singing. The voice is rich and even in tone throughout the range, well focused in the projection of the lower register and powerful at the top with an exciting Italianate edge. The many top C’s were as well floated in the final scene as in the opening scene "Casta Diva" was most gently and movingly phrased. The overriding impression was one of total emotional commitment to the role to which she gave herself from the first without any weakening of the voice over a long evening. The assurance of the assumption of this most taxing role in the soprano repertoire must surely increase the desirability of her appearance on other stages. Valerie Watts portrayed a powerful Tosca. Valerie Watts as “Rosina” sang the role with predictably effortless style. Valerie Watts' Aida has a voice which soars easily over the most tumultuous chorus and orchestral ensembles and she is gifted with a keen dramatic instinct. |
|||
 |
 |
