Elīna Garanča has been captivating audiences in the world’s most prestigious concert halls for years with well-chosen programmes of art songs by composers ranging from Schubert and Schumann to Richard Strauss, Rachmaninov and her compatriot Raimonds Pauls. Only now, however, has she added to her already extensive Deutsche Grammophon discography an album documenting her exceptional skill in this genre and her ability to convey every nuance of both music and text.
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Elīna Garanča was honoured as Singer of the Year at the 2020 OPUS-KLASSIK for Sol y Vida, an album of non core-classical repertoire in praise of sunshine, life and love.
Not yet forty and now in the second decade of her career, the Latvian mezzo has established herself as one of the most gratifying performers on the opera stage today, leaving an indelible stamp on characters ranging from Carmen and Charlotte to Sesto in Clemenza, bel canto heroines such as Angelina, Rosina and Giovanna Seymour to Strauss’s Octavian.
Ms. Garanca’s singing from her first phrases defined what is meant by “Met quality,” abundant, sumptuous tone and generous phrasing. This is an artist we need to hear in the great roles of her Fach: Donizetti’s Favorite, for instance, or Eboli in Verdi’s Don Carlos.
“Garanča easily projects virility and positions the notes, whatever their register, like a darts player hitting the bull’s-eye.”
“If [others were] just a hair’s breadth away from perfection, Elīna Garanča hit the mark dead on target.”
“[Garanča] sings with rich sound, an unerring feel for the nuance and subtext of a phrase, and alluring sensuality. The clarity in her singing makes this Carmen seem intelligent and wily.”
“Elīna Garanča’s voice is one-in-a-million, allying grace and power to a commanding authority.”
“It’s a marvel to see the virtuosic ease with which Elīna Garanča almost casually sails over the hurdles of the material: Never at the limit, and always smiling as she expertly sings, as if it were nothing.”
“Garanča, a tall, strikingly beautiful and fast-rising star from Latvia, sings with alluring tone and captures the gypsy Carmen’s sexual swagger and self-confidence. Under Eyre’s shrewd direction, she dispenses with much of the tired, traditional stage action associated with the character.”