Broadcast and discussion begin at 1:00 PM.

Callum John Blackmore:

Indeed, Kurzak is about as close as you can get to a perfect Violetta, both vocally and dramatically. Her greatest strength lay in her middle register, which was rich and supple throughout, a powerful asset in the long middle-voice passages of the second act. Indeed, Kurzak’s coloratura only got more potent, more accurate, and more expressive the lower it sat in her voice, demonstrating that some of Violetta’s most impressive vocal acrobatics lie well below the top of the staff.

This breathtaking middle register was underpinned by a firm, sinuous chest voice, capable not only of great clout, but also of startling clarity. Her high register was not quite so powerful, but it was white-hot in tone, and extremely pliant, allowing Kurzak to color the tops of phrases with astounding effect.

Photo: Marty Sohl / Met Opera

Call for submissions: parterre box‘s new Talk of the Town

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Call for submissions: parterre box‘s new Talk of the Town

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parterre box is launching a new themed regular feature curated by our readers and opera fans across the world! We are asking for your favorite clips, recordings, and anecdotes to get people chatting, listening, and thinking.

From parterre box