Son vergin vezzosa - I Puritani by Vincenzo Bellini Orchestra and Chorus of Teatro Colón, Buenos Aires Conductor: Maurizio Benini Elvira: Jessica Pratt Arturo: Francesco Demuro Riccardo: Germán Alcántara Giorgio: Riccardo Fassi Enrichetta: Maria Luisa Merino Ronda

Son vergin vezzosa - I Puritani by Vincenzo Bellini Orchestra and Chorus of Teatro Colón, Buenos Aires Conductor: Maurizio Benini Elvira: Jessica Pratt Arturo: Francesco Demuro Riccardo: Germán Alcántara Giorgio: Riccardo Fassi Enrichetta: Maria Luisa Merino Ronda

The cast of singers highlighted a truly prodigious artist. It had been a long time since a figure of this caliber had set foot on the Colón stage. Soprano Jessica Pratt revealed a voice as flawless as a diamond, produced cleanly and clearly, without the slightest effort and with magnificent volume soaring over everyone, colleagues, chorus and the full orchestra. Her almost miraculous flexibility allowed for trills and mordents, swift and immaculate ascending and descending scales, as well as rapid gruppetti within flowing legato turns, with interval leaps of astonishing homogeneity and naturalness. This in addition to delivering dazzling high and super-highs notes reaching E and F effortlessly, softening or broadening the notes with subtlety—all within a stylistic and expressive context that was truly moving. She did not overwhelm with endless self-added embellishments, as the divas of old once did. Instead, she crafted the color of her phrases (a hallmark of the greats) and displayed, moreover, consummate musicianship. Carlos Ernesto Ure - Asociación de Críticos Musicales de la Argentina --------------------------- Il cast di cantanti ha messo in risalto un’artista davvero prodigiosa. Era da tempo che una figura di tale calibro non calcava il palcoscenico del Colón. Il soprano Jessica Pratt ha rivelato una voce impeccabile come un diamante, emessa in modo limpido e netto, senza il minimo sforzo e con un volume magnifico che sovrastava tutti, colleghi, coro e intera orchestra. La sua flessibilità quasi miracolosa le ha permesso di eseguire trilli e mordenti, scale ascendenti e discendenti rapide e immacolate, così come velocissimi gruppetti all’interno di legati scorrevoli, con salti di intervallo di una sorprendente omogeneità e naturalezza. A ciò si aggiungeva l’emissione di vertiginosi acuti e sovracuti, fino al mi e al fa, prodotti senza sforzo, con la capacità di addolcire o ampliare il suono con sottile maestria — il tutto in un contesto stilistico ed espressivo davvero toccante. Non ha mai esagerato con interminabili abbellimenti aggiunti da sé, come facevano un tempo le dive. Ha piuttosto cesellato il colore delle frasi (segno distintivo dei grandi) e ha mostrato, inoltre, una musicalità compiuta. Carlos Ernesto Ure - Asociación de Críticos Musicales de la Argentina ------------------------------------ El cuadro de cantantes puso de relieve a una artista verdaderamente prodigiosa. Hacía tiempo que figuras de este calibre no pisaban el escenario del Colón. En efecto: la soprano lírica anglo australiana Jessica Pratt, lució un metal propio de la perfección de un diamante, emitido de manera limpia y neta, sin el mínimo esfuerzo y con magnífico volumen (en los concertantes sobrepasó a todos, colegas, coro y orquesta a pleno). Su flexibilidad de manejo, casi milagrosa, le permitió trillos y mordentes, rápidas y pulcras escalas ascendentes y descendentes, al igual que veloces “gruppetti” en el marco de giros en legato, saltos interválicos de asombrosa homogeneidad y naturalidad. Esto además de emitir agudos y sobreagudos deslumbrantes (llegó al “mi” o al “fa” sin ningún problema), “apianar” o engrosar las notas con sutileza, todo en un contexto estilístico y expresivo realmente conmovedor (la tensa-melancólica aria “Qui la voce sua soave”). No saturó con infinidad de fiorituras de su cuenta, como hacían las divas de antaño. Elaboró el color de sus frases (algo propio de los grandes) y expuso por lo demás consumada musicalidad. Carlos Ernesto Ure - Asociación de Críticos Musicales de la Argentina

Jessica Pratt la reina del bel canto —capaz de enamorar al mundo en cada concierto— ilumina por primera vez el escenario del Teatro Colón. Un encuentro único, irrepetible, inolvidable. 📆 7 septiembre 17h. 📍Cerrito 628; CABA 🎫Comprá tus #eTickets en bit.ly/3JknOOp

Tonight I got to enjoy Teatro Colon, with Riccardo, from the other side of the curtain. Thank you so much to maestro Diego Martin-Etxebarria and the Filarmonica de Buenos Aires for a wonderful concert celebrating 150th anniversary of the birth of Ravel. And a special thank you to Giuseppe Albanese for his incredible artistry and for creating such an atmosphere that it felt like time was suspended. ❤️

¡Hola a todos! Con Kamal preparamos un maravilloso recital para el 7 de septiembre a las 17 horas. Espero verlos todos allí. Habrá música de Strauss, Bellini, Bachelet y mucho otros compositores maravillosos. Tendremos un mix de ópera, lied y chanson. Espero que puedan acompañarnos en esta celebración de música de todo el mundo. Jessica Pratt 📆 7 septiembre 17h. 📍Cerrito 628; CABA 🎫Comprá tus #eTickets en bit.ly/3JknOOp

Third concert of Bellini’s I Puritani here at the magnificent @teatrocolon tonight!! It’s an incredible experience singing in this stunning theatre! ❤️❤️❤️

One of the many fascinating challenges of portraying Norma is revealing her vulnerability amidst all the fury and power she embodies. I love how Bellini, right up until the end of the opera, weaves in delicate cadenzas and deeply intimate pianissimo phrases, creating a striking contrast with the public persona of the high priestess. This moment when she pleads with Adalgisa to take her children is just heartbreaking. Orchestra and Chorus of Teatro alla Scala di Milano Conductor: Fabio Luisi Chorusmaster: Alberto Malazzi

Tired but super happy after last night’s recital @teatrocolon @ Antiguo Mercado de San Telmo

"Quand le chant se fait théâtre" "Jessica Pratt, très attendue, incarne littéralement Elvira" "L’arc vocal fait jaillir des suraigus comme les flèches de Cupidon" Sébastien Vacelet - Olyrix ------------------------------ "Con una voz maravillosa y una técnica impecable conquistó a todo el Colón, recibiendo ovaciones desde el primer al último acto." Helena Brillembourg - La Nacion ------------------------ "Pratt es una artista descollante y carismática, y sus sobreagudos potentes hicieron delirar al público." Margarita Pollini - Clarin ---------------------------- "Hacía tiempo que figuras de este calibre no pisaban el escenario del Colón." "lució un metal propio de la perfección de un diamante, emitido de manera limpia y neta, sin el mínimo esfuerzo y con magnífico volumen" Carlos Ernesto Ure - La Prensa ----------------------- "Pratt, in forma strepitosa, ha sciorinato agilità, messe di voce, sovracuti, trilli e glissandi che hanno entusiasmato il pubblico" "Non si può citare un momento di particolare rilievo perché lo erano tutti" Jorge Binaghi - Connessi all'Opera

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Apparently Instagram prefers videos under three mins… now if I sang Puccini this wouldn’t be a problem but it’s a tricky task for a coloratura soprano 😅😅 so to appease the algorithm here is a snippet from the end of Elvira’s first aria Son vergin vezzosa where she gets super excited about the idea of marrying Arturo! You can find the full aria on the previous post 💕 I Puritani - Vincenzo Bellini @teatrocolon Buenos Aires Sept. 2025 Gown by @giuseppe.palella1 Jewellery by @dorica_official #coloraturasoprano #vincenzobellini #belcanto #opera #teatrocolon

The cast of singers highlighted a truly prodigious artist. It had been a long time since a figure of this caliber had set foot on the Colón stage. Soprano Jessica Pratt revealed a voice as flawless as a diamond, produced cleanly and clearly, without the slightest effort and with magnificent volume soaring over everyone, colleagues, chorus and the full orchestra. Her almost miraculous flexibility allowed for trills and mordents, swift and immaculate ascending and descending scales, as well as rapid gruppetti within flowing legato turns, with interval leaps of astonishing homogeneity and naturalness. This in addition to delivering dazzling high and super-highs notes reaching E and F effortlessly, softening or broadening the notes with subtlety—all within a stylistic and expressive context that was truly moving. She did not overwhelm with endless self-added embellishments, as the divas of old once did. Instead, she crafted the color of her phrases (a hallmark of the greats) and displayed, moreover, consummate musicianship. Carlos Ernesto Ure - Asociación de Críticos Musicales de la Argentina --------------------------- Il cast di cantanti ha messo in risalto un’artista davvero prodigiosa. Era da tempo che una figura di tale calibro non calcava il palcoscenico del Colón. Il soprano Jessica Pratt ha rivelato una voce impeccabile come un diamante, emessa in modo limpido e netto, senza il minimo sforzo e con un volume magnifico che sovrastava tutti, colleghi, coro e intera orchestra. La sua flessibilità quasi miracolosa le ha permesso di eseguire trilli e mordenti, scale ascendenti e discendenti rapide e immacolate, così come velocissimi gruppetti all’interno di legati scorrevoli, con salti di intervallo di una sorprendente omogeneità e naturalezza. A ciò si aggiungeva l’emissione di vertiginosi acuti e sovracuti, fino al mi e al fa, prodotti senza sforzo, con la capacità di addolcire o ampliare il suono con sottile maestria — il tutto in un contesto stilistico ed espressivo davvero toccante. Non ha mai esagerato con interminabili abbellimenti aggiunti da sé, come facevano un tempo le dive. Ha piuttosto cesellato il colore delle frasi (segno distintivo dei grandi) e ha mostrato, inoltre, una musicalità compiuta. Carlos Ernesto Ure - Asociación de Críticos Musicales de la Argentina ------------------------------------ El cuadro de cantantes puso de relieve a una artista verdaderamente prodigiosa. Hacía tiempo que figuras de este calibre no pisaban el escenario del Colón. En efecto: la soprano lírica anglo australiana Jessica Pratt, lució un metal propio de la perfección de un diamante, emitido de manera limpia y neta, sin el mínimo esfuerzo y con magnífico volumen (en los concertantes sobrepasó a todos, colegas, coro y orquesta a pleno). Su flexibilidad de manejo, casi milagrosa, le permitió trillos y mordentes, rápidas y pulcras escalas ascendentes y descendentes, al igual que veloces “gruppetti” en el marco de giros en legato, saltos interválicos de asombrosa homogeneidad y naturalidad. Esto además de emitir agudos y sobreagudos deslumbrantes (llegó al “mi” o al “fa” sin ningún problema), “apianar” o engrosar las notas con sutileza, todo en un contexto estilístico y expresivo realmente conmovedor (la tensa-melancólica aria “Qui la voce sua soave”). No saturó con infinidad de fiorituras de su cuenta, como hacían las divas de antaño. Elaboró el color de sus frases (algo propio de los grandes) y expuso por lo demás consumada musicalidad. Carlos Ernesto Ure - Asociación de Críticos Musicales de la Argentina

As the closing event of the “Grandes Intérpretes” cycle, the Australian soprano Jessica Pratt made her debut at the Teatro Colón, accompanied by the pianist Kamal Kahn, who is already well known to our audiences. Together they formed a duo of excellence that dazzled the public. They presented a very varied and attractive program that traversed several genres and languages, from Strauss songs to Bernstein, passing through operatic arias, and venturing into Italian, German, French, and American repertoire, all with equal effectiveness. Pratt, who is pursuing an important international career, possesses a voice with a crystalline, beautiful timbre, even and fresh throughout its range, with sufficient volume to fill the vast hall of our Colón. Her solid technique and ease in the upper register allow her to tackle even the most difficult coloratura and bravura passages with perfect filati and astonishing naturalness. To begin, she performed three songs by Richard Strauss, delivered with great expressiveness—another of her qualities: the ability to highlight the intent behind every word. The same was true of the Bellini songs. But the highlights of this first part were undoubtedly the arias from Ariadne auf Naxos and La sonnambula, with impeccable legato and heartfelt interpretation, culminating in “Ah! non giunge,” where she displayed flawless coloratura and crowned it with a stratospheric high note. In the second part, showcasing her great versatility, she performed French repertoire, rendered with refinement and delicacy. The humorous moment came with “Les oiseaux dans la charmille” from The Tales of Hoffmann, an aria in which both the soprano and Kamal Kahn delighted the audience with their acting skills. Finally, two songs by Ned Rorem and “Glitter and be gay” from Bernstein’s Candide, interpreted superbly both vocally and in the nuanced intent she gave to each phrase and word. The pianist and conductor Kamal Kahn once again displayed his interpretative gifts, both in the two works he played as a soloist and in his magnificent accompaniment of the soprano. Faced with the thunderous ovation of an enraptured audience, as encores Kamal Kahn performed Tango by Albéniz in an arrangement, and accompanied Jessica Pratt in “Ah! tardai troppo… O luce di quest’anima” from Donizetti’s Linda di Chamounix, Proch’s Variazioni—a homage to Regina Pacini—and finally, none other than “Casta Diva” from Bellini’s Norma. The final ovation seemed to have no end. Graciela Morgenstern Photo by Juanjo Bruzza --------------------------- Como cierre del ciclo “Grandes Intérpretes”, debutó en el Colón la soprano australiana Jessica Pratt, acompañada por el pianista Kamal Kahn, quien ya es conocido en nuestro medio. Ambos conformaron un dúo de excelencia que deslumbró al público. Presentaron un programa muy variado y atractivo, que recorría varios géneros e idiomas, desde las canciones de Strauss hasta Bernstein, pasando por las arias de ópera, incurriendo en repertorio italiano, alemán, francés y americano, todos con igual eficacia. Pratt, quien desarrolla una importante carrera internacional, cuenta con una voz de timbre cristalino, bellísimo, registro parejo y lozano, en toda la extensión y suficiente caudal para llenar la enorme sala de nuestro Colón. Su sólida técnica y facilidad para el agudo, le permite afrontar hasta la más complicada coloratura y fragmento de bravura con filados perfectos y una naturalidad asombrosa. Para comenzar, encaró tres canciones de Richard Strauss, vertidas con expresividad, otra de sus cualidades: marcar la intención detrás de cada palabra. Lo mismo sucedió con las canciones de Bellini. Pero los puntos cúlmines de esta primera parte, fueron sin duda, las arias de “Ariadna en Naxos” y “La sonnambula”, con impecable manejo del legato y una sentida interpretación, para terminar con “Ah! non giunge”, desarrollando óptima coloratura que remató con un sobreagudo. En la segunda parte, dando muestra de su gran versatilidad, abordó repertorio francés, vertido con refinamiento y exquisitez. También llegó el momento humorístico con “Les oiseaux dans la charmille” de Los cuentos de Hoffmann, aria en que tanto la soprano como Kamal Kahn deleitaron a la audiencia por su desempeño actoral. Finalmente, dos canciones de Ned Rorem y “Glitter and be gay” de Candide, de L. Bernstein, interpretadas de manera inmejorable tanto desde el punto de vista vocal como por la intencionalidad que otorgó a cada frase y cada palabra. El pianista y director de orquesta Kamal Kahn exhibió nuevamente sus bondades interpretativas, tanto en las dos obras en que fue solista como en su magnífico acompañamiento de la soprano. Ante la enorme ovación de un público enardecido, fuera de programa, Kamal Kahn interpretó “Tango”, de Albeniz con arreglos y acompañó a Jessica Pratt en “Ah Tardai troppo.. O luce di quest’anima”, de Linda di Chamounix, de Donizetti, Variazioni di Proch, como homenaje a Regina Pacini y finalmente, nada menos que “Casta Diva”, de Norma, de Bellini. La ovación final parecía no tener fin Graciela Morgenstern Photo by Juanjo Bruzza ----------------------------- Come evento di chiusura del ciclo “Grandes Intérpretes”, ha debuttato al Teatro Colón il soprano australiano Jessica Pratt, accompagnata dal pianista Kamal Kahn, già ben conosciuto dal nostro pubblico. Insieme hanno formato un duo di eccellenza che ha incantato la platea. Hanno presentato un programma molto vario e accattivante, che attraversava diversi generi e lingue, dalle liriche di Strauss a Bernstein, passando per le arie d’opera e toccando repertori italiani, tedeschi, francesi e americani, tutti eseguiti con pari efficacia. La Pratt, che porta avanti un’importante carriera internazionale, possiede una voce dal timbro cristallino, bellissimo, uniforme e fresco in tutta l’estensione, con volume sufficiente a riempire la vasta sala del nostro Colón. La sua solida tecnica e l’agilità negli acuti le permettono di affrontare anche le colorature e i passaggi di bravura più ardui con filati perfetti e una naturalezza sorprendente. Per iniziare, ha eseguito tre liriche di Richard Strauss, rese con grande espressività—un’altra delle sue qualità: saper evidenziare l’intenzione dietro ogni parola. Lo stesso è accaduto con le liriche di Bellini. Ma i punti culminanti di questa prima parte sono stati senza dubbio le arie da Ariadne auf Naxos e da La sonnambula, con un impeccabile legato e un’interpretazione intensa, per concludere con “Ah! non giunge”, dove ha sviluppato una coloratura perfetta coronata da un sopracuto. Nella seconda parte, a dimostrazione della sua grande versatilità, ha affrontato il repertorio francese, reso con raffinatezza e squisitezza. È arrivato anche il momento umoristico con “Les oiseaux dans la charmille” dai Racconti di Hoffmann, aria in cui sia il soprano che Kamal Kahn hanno deliziato il pubblico anche per le doti attoriali. Infine, due liriche di Ned Rorem e “Glitter and be gay” da Candide di Bernstein, interpretate in maniera ineccepibile sia dal punto di vista vocale che per la cura nell’intenzione attribuita a ogni frase e a ogni parola. Il pianista e direttore d’orchestra Kamal Kahn ha nuovamente mostrato le sue doti interpretative, sia nelle due pagine in cui è stato solista sia nel magnifico accompagnamento al soprano. Di fronte alla travolgente ovazione di un pubblico entusiasta, fuori programma Kamal Kahn ha eseguito il Tango di Albéniz in una versione arrangiata e ha accompagnato Jessica Pratt in “Ah! tardai troppo… O luce di quest’anima” da Linda di Chamounix di Donizetti, nelle Variazioni di Proch—omaggio a Regina Pacini—e infine, niente meno che “Casta Diva” da Norma di Bellini. L’ovazione finale sembrava non avere fine. Graciela Morgenstern Foto di Juanjo Bruzza

“Teatro Colón bowed at the feet of Australian soprano Jessica Pratt.” ”…she turned each piece into a small opera, displaying an extraordinary stage and dramatic presence (yes, even for the Colón stage) […] with only three costume changes, she built a show more elaborate and precise than many full opera productions, making it clear that she came to impress and gave everything of herself on stage.” “A technical, dramatic, and aesthetic display that reaffirmed Pratt’s place among today’s great sopranos.” “Pratt’s performance made for an unforgettable recital.” Virginia Chacon Dorr - Clarin Photo by Arnaldo Colombaroli -------------------------- "El Teatro Colón se rindió a los pies de la soprano australiana Jessica Pratt" "...convirtió cada pieza en una pequeña ópera, desplegando una presencia escénica y dramática fuera de lo común (sí, incluso para el escenario del Colón). [...] Con solo tres cambios de vestuario construyó un espectáculo más elaborado y preciso que muchas puestas de ópera, dejando claro que salió a impresionar y que puso todo de sí sobre el escenario." "un despliegue técnico, dramático y estético que reafirmó la posición de Pratt entre las grandes sopranos de la actualidad" "La actuación de Pratt marcó un recital inolvidable" Virginia Chacon Dorr - Clarin Photo by Arnaldo Colombaroli -------------------------- “Il Teatro Colón si è inchinato ai piedi del soprano australiano Jessica Pratt.” ”…ha trasformato ogni pezzo in una piccola opera, mostrando una presenza scenica e drammatica fuori dal comune (sì, persino per il palcoscenico del Colón). […] Con soli tre cambi d’abito ha costruito uno spettacolo più elaborato e preciso di molte produzioni liriche, lasciando chiaro che era lì per impressionare e che ha dato tutta sé stessa sul palco.” “Un dispiegamento tecnico, drammatico ed estetico che ha riaffermato la posizione di Pratt tra le grandi soprano dei nostri giorni.” “L’esibizione della Pratt ha segnato un recital indimenticabile.” Virginia Chacon Dorr - Clarin Photo by Arnaldo Colombaroli

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"Jessica Pratt's debut at the Colón not only exceeded expectations: it shattered them." "...her debut at the Teatro Colón was a lyrical event of magnitude, a moment that will remain etched in the memory of the hall as those milestones that mark a before and after in the musical life of Buenos Aires." "...the concert culminated with a simply unforgettable Casta Diva [...] she transformed this conclusion into an act of courage and vocal grandeur, closing the evening with an emotional impact that bordered on the historic." "...she is a performer who turns every appearance into a historic event, capable of inscribing her name among the great voices that made the Colón a legendary theater." Sergio Sosa Battaglia Photo by Arnaldo Colombaroli ---------------------- "El debut de Jessica Pratt en el Colón no solo superó expectativas: las demolió." "El debut de la soprano Jessica Pratt en el Teatro Colón fue un acontecimiento lírico de magnitud , un momento que quedará inscripto en la memoria de la sala como aquellos hitos que marcan un antes y un después en la vida musical de Buenos Aires." "...el concierto culminó con una Casta Diva sencillamente inolvidable, [...] Pratt convirtió este cierre en un acto de valentía y grandeza vocal, clausurando la velada con un impacto emocional que rozó lo histórico." "...es una intérprete que convierte cada aparición en un evento histórico, capaz de inscribir su nombre entre las grandes voces que hicieron del Colón un teatro mítico." Sergio Sosa Battaglia Photo by Arnaldo Colombaroli ----------------------- "Il debutto di Jessica Pratt al Colón non solo ha superato le aspettative: le ha distrutte." "Il suo debutto al Teatro Colón è stato un evento lirico di magnitudine, un momento che rimarrà inscritto nella memoria della sala come quelle pietre miliari che segnano un prima e un dopo nella vita musicale di Buenos Aires." "...il concerto è culminato con una Casta Diva semplicemente indimenticabile, nella versione originale di Bellini in Sol maggiore. [...] Pratt ha trasformato questa chiusura in un atto di coraggio e di grandezza vocale, chiudendo la serata con un impatto emotivo che ha rasentato lo storico." "...è un'interprete che trasforma ogni apparizione in un evento storico, capace di inscrivere il suo nome tra le grandi voci che hanno reso il Teatro Colón un mito." Sergio Sosa Battaglia Foto di Arnaldo Colombaroli

¡Hola a todos! Con Kamal preparamos un maravilloso recital para el 7 de septiembre a las 17 horas. Espero verlos todos allí. Habrá música de Strauss, Bellini, Bachelet y mucho otros compositores maravillosos. Tendremos un mix de ópera, lied y chanson. Espero que puedan acompañarnos en esta celebración de música de todo el mundo. Jessica Pratt 📆 7 septiembre 17h. 📍Cerrito 628; CABA 🎫Comprá tus #eTickets en bit.ly/3JknOOp

Jessica Pratt la reina del bel canto —capaz de enamorar al mundo en cada concierto— ilumina por primera vez el escenario del Teatro Colón. Un encuentro único, irrepetible, inolvidable. 📆 7 septiembre 17h. 📍Cerrito 628; CABA 🎫Comprá tus #eTickets en bit.ly/3JknOOp

Here something completely different from my usual world. We've been working hard here in Monte-Carlo for tomorrow night's performance of Paul McCartney's Liverpool Oratorio. "The world you are coming into" is sung by Mary Dee to her unborn child. See you all at the Grimaldi Forum https://www.grimaldiforum.com/en/events-schedule-monaco/monte-carlo-philharmonic-orchestra-paul-mc-cartney-s-liverpool-oratorio Kazuki YAMADA, conductor Orchestre Philharmonique de Monte-Carlo CBSO Chorus Children’s Choir of the Académie Rainier III In collaboration with the Chorégies d’Orange

Here's a link to yesterday's nice chat on Radio Nacional with Boris. https://www.radionacional.com.ar/entrevista-a-la-soprano-jessica-pratt/?fbclid=IwY2xjawMnrcdleHRuA2FlbQIxMABicmlkETFFT3JiVEZFcTdIcU42ZnprAR6vzcROtnQySTLxs84zrXePQ-3TdxsL4sUuDovtGdr4uE_GpiSIEaThhr7yrw_aem_Zb0oyYgHFTJx24_VtdxLfA

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This August Dynamic is releasing a DVD of Roberto Devereux that we recorded at the Donizetti Opera Festival last December. I loved this production, especially the costumes and playing this fabulous character! Brilliant conducting by Riccardo Frizza and the fabulous staging of Stephen Langridge and a wonderful cast including Roberto Devereux interpreted by John Osborne, Simone Piazzola as Nottingham e Raffaella Lupinacci as Sara ❤️ @donizettiopera @riccardo_frizza @raffaellalupinacci @simonepiazzola.baritone @johnosborntenor @opera.slang @ariosimanagement

Hello everyone! I’m super excited to be returning to Australia in August next year for two concerts at the Sydney Opera House, celebrating the 100th birthday of Dame Joan Sutherland with highlights from her most iconic roles. It is a huge honour to be invited to pay tribute to one of the greatest inspirations of my life. Joining me will be the Australian-Chinese tenor Kang Wang and leading from the podium, Speranza Scappucci. Growing up in Australia, we are surrounded by Dame Joan Sutherland’s incredible contribution to this art form. Our opera theatre bears her name; she brought a young Pavarotti on tour here, among so many other remarkable achievements. Opera in Australia is intrinsically linked to her legacy. As a coloratura soprano, she has always been one of my greatest inspirations. Anytime I feel frustrated, I listen to her Ophelia, and it never fails to lift me up, motivate me, and get me back into the practice room. Beyond her extraordinary instrument and natural talent, singing at that level for so many years—especially the most demanding repertoire—requires unmatched dedication and hard work. I look forward to seeing you all again soon and celebrating together the ‘voice of the century’ as we re-live her great successes at the Sydney Opera House.❤️

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A beautiful few days in Sofia with great friends and wonderful people performing the glorious 9th Symphony by Beethoven. If there was ever a time to ask mankind to come together in brotherhood it is now 🩷 Daniel Oren Приятели на Софийска опера и балет|Friends of Sofia Opera & Ballet Gregory Kunde @Alexander Vinogradov @Violeta Radomirska Ariosi Management

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🇮🇹🇮🇹🇮🇹🇮🇹🇮🇹🇮🇹 “Il soprano Jessica Pratt, dotata di una voce di rara purezza, si cala nel personaggio di Mary Dee con una grazia quasi angelica. La sua proiezione limpida, la flessibilità vocale, ma soprattutto la sua arte del legato conferiscono alla sua interpretazione una dimensione spirituale e toccante. Sa privilegiare una sincerità espressiva unita a una musicalità di altissimo livello.“ -Christian Jarniat Résonances Lyriques 🇬🇧🇬🇧🇬🇧🇬🇧🇬🇧🇬🇧 “The soprano Jessica Pratt, endowed with a voice of rare purity, slips into the character of Mary Dee with an almost angelic grace. Her clear projection, vocal agility, and above all, her mastery of legato give her interpretation a spiritual and moving dimension. She knows how to favor expressive sincerity, combined with exceptional musicality.” -Christian Jarniat Résonances Lyriques 🇫🇷🇫🇷🇫🇷🇫🇷🇫🇷🇫🇷 “La soprano Jessica Pratt, dotée d’une voix d’une rare pureté, se glisse dans le personnage de Mary Dee avec une grâce quasi angélique. Sa projection limpide, sa souplesse vocale, mais surtout son art du legato confèrent à son interprétation une dimension spirituelle et touchante. Elle sait privilégier une sincérité expressive, alliée à une musicalité de haut vol.” -Christian Jarniat Résonances Lyriques 🇪🇸🇪🇸🇪🇸🇪🇸🇪🇸🇪🇸 “La soprano Jessica Pratt, dotada de una voz de rara pureza, se desliza en el personaje de Mary Dee con una gracia casi angelical. Su proyección cristalina, su flexibilidad vocal, y sobre todo su arte del legato, confieren a su interpretación una dimensión espiritual y conmovedora. Sabe privilegiar una sinceridad expresiva, unida a una musicalidad de alto nivel.“ -Christian Jarniat Résonances Lyriques

Jessica Pratt’s last-minute Norma in Milan might well be the stuff of legend Harry Rose - Parterre Box (link in the comments) "So it came as somewhat of a surprise when it was announced that Jessica Pratt would be ending her vacation early, per her unusually candid Facebook page, to sing the final performance with just hours of rehearsal of a role she had only performed once before." "Pratt is beloved in Italy — so much so that the Australian coloratura has settled outside of Florence – where she is praised for her technical proficiency, emotional expansiveness, and lucid upper register. It may be hard for an American readership to imagine since Pratt hardly sings this side of the Atlantic, but for an Italian audience, this was like when Kurt Adler announced to the San Francisco audience in 1981 that Margaret Price was sick, so they’d be getting Leontyne Price as Aïda instead." "So the pressure was on in a sold-out house, the theater’s final performance before its summer break and the end of its first run of Norma in 40 years. She delivered in spades." "Pratt, as would Frank Sinatra, does Norma her way; not least in terms of the key for her solid, fast-paced “Casta diva,” which she upped to G despite the rest of the run having been in F, but in the way she manages the voice overall. The priority is clearly preserving the basic tone color – sweet, glassy, quavering – that extends across most of her range, from an easy top to a softer middle. Though this doesn’t mean she’s sacrificing characterization for timbre; she slammed all too rarely into a healthy chest for calculated dramatic effect (“Schiavi d’una matrigna,” for example, as she steels herself to knife her littluns), marrying ugly thoughts to a more raw sound." "The raised key is clearly more than just congenial to her, too — it’s existential; “In mia man,” laying lower as it does, found her distorting that base sound just to be heard, and in the coloratura runs, the nimble glottalizing called to mind a sweetly barking seal. With a smaller voice that nevertheless projects immaculately, Pratt is not a dominatingly magisterial Norma, but what does shine through is the imposing sovereignty of her musicianship and her full commitment to bringing to life the character with the means at her disposal. She knows her voice and how to use it, throwing herself completely into a pensive, anguished Norma who was especially tender in the scenes with her children. Despite her brief preparation time, the entire interpretation felt thoroughly prepared yet still open and spontaneous. For all this, she was cheered to the rafters." [...] "...this warm evening in Milan will be remembered chiefly for Pratt’s success against intimidating odds as she became only the sixth soprano (and the third in just the past month) to perform the role there since Maria Callas did in 1955."

La Scala finally dares to bring back Norma Philip Eisenbeiss - INTERLUDE (link in the comments) "Pratt is a very different kind of soprano from Rebeka. A true bel canto specialist, the Italy-based Australian provided a veritable masterclass. Her Casta Diva, now even more daunting in the G Major setting, was nothing short of arresting. Pratt adeptly handled all embellishments, subtly weaving and stringing out the most filigree pianissimi, before effortlessly swinging to a squillo on a top note that could pierce the back of the building. Pratt has achieved true mastery of her art, sticking to what she does best, and she has come to dominate this Fach. Her performance had nothing to fear from any comparisons with her legendary predecessors."

Here something completely different from my usual world. We've been working hard here in Monte-Carlo for tomorrow night's performance of Paul McCartney's Liverpool Oratorio. "The world you are coming into" is sung by Mary Dee to her unborn child. See you all at the Grimaldi Forum https://www.grimaldiforum.com/en/events-schedule-monaco/monte-carlo-philharmonic-orchestra-paul-mc-cartney-s-liverpool-oratorio Kazuki YAMADA, conductor Orchestre Philharmonique de Monte-Carlo CBSO Chorus Children’s Choir of the Académie Rainier III In collaboration with the Chorégies d’Orange

I had lots of fun this weekend in Monte Carlo! It was a pleasure honour to meet and perform for His Serene Highness Prince Albert II of Monaco and to make music with the fabulous Orchestre Philharmonique de Monte-Carlo City of Birmingham Symphony Orchestra Chorus and @Kazuki Yamada for the first time! Thank you especially to my dear colleagues and friends for your wonderful work and great company ! ❤️ Erwin Schrott Andrew Owens @Foriane Hasler #liverpooloratorio @Paul McCartney

Jessica Pratt’s last-minute Norma in Milan might well be the stuff of legend Harry Rose - Parterre Box (link in the comments) "So it came as somewhat of a surprise when it was announced that Jessica Pratt would be ending her vacation early, per her unusually candid Facebook page, to sing the final performance with just hours of rehearsal of a role she had only performed once before." "Pratt is beloved in Italy — so much so that the Australian coloratura has settled outside of Florence – where she is praised for her technical proficiency, emotional expansiveness, and lucid upper register. It may be hard for an American readership to imagine since Pratt hardly sings this side of the Atlantic, but for an Italian audience, this was like when Kurt Adler announced to the San Francisco audience in 1981 that Margaret Price was sick, so they’d be getting Leontyne Price as Aïda instead." "So the pressure was on in a sold-out house, the theater’s final performance before its summer break and the end of its first run of Norma in 40 years. She delivered in spades." "Pratt, as would Frank Sinatra, does Norma her way; not least in terms of the key for her solid, fast-paced “Casta diva,” which she upped to G despite the rest of the run having been in F, but in the way she manages the voice overall. The priority is clearly preserving the basic tone color – sweet, glassy, quavering – that extends across most of her range, from an easy top to a softer middle. Though this doesn’t mean she’s sacrificing characterization for timbre; she slammed all too rarely into a healthy chest for calculated dramatic effect (“Schiavi d’una matrigna,” for example, as she steels herself to knife her littluns), marrying ugly thoughts to a more raw sound." "The raised key is clearly more than just congenial to her, too — it’s existential; “In mia man,” laying lower as it does, found her distorting that base sound just to be heard, and in the coloratura runs, the nimble glottalizing called to mind a sweetly barking seal. With a smaller voice that nevertheless projects immaculately, Pratt is not a dominatingly magisterial Norma, but what does shine through is the imposing sovereignty of her musicianship and her full commitment to bringing to life the character with the means at her disposal. She knows her voice and how to use it, throwing herself completely into a pensive, anguished Norma who was especially tender in the scenes with her children. Despite her brief preparation time, the entire interpretation felt thoroughly prepared yet still open and spontaneous. For all this, she was cheered to the rafters." [...] "...this warm evening in Milan will be remembered chiefly for Pratt’s success against intimidating odds as she became only the sixth soprano (and the third in just the past month) to perform the role there since Maria Callas did in 1955."

Some Paul McCartney tonight!

One of the many fascinating challenges of portraying Norma is revealing her vulnerability amidst all the fury and power she embodies. I love how Bellini, right up until the end of the opera, weaves in delicate cadenzas and deeply intimate pianissimo phrases, creating a striking contrast with the public persona of the high priestess. This moment when she pleads with Adalgisa to take her children is just heartbreaking. Orchestra and Chorus of Teatro alla Scala di Milano Conductor: Fabio Luisi Chorusmaster: Alberto Malazzi

Had a few relaxing days at home recovering! Gardening, sanding, painting and putting together some more garden furniture. And of course lots of cuddles with the furbabies 😍 now refreshed and energised we are back in the car heading to Monte Carlo for a performance of Paul MacCartney’s Liverpool Oratorio on Sunday!

We have arrived in Monte Carlo, a nice dinner by the beach was in order! 💕

"L'ultima Norma" by Antonino Trotta - Ape Musicale (english translation follows, link in the comments) "Plastica in fraseggio sensibilissimo e carico di sfumature, svettante in quelle siderali agilità saettate con assoluta padronanza di mezzi ed eccezionale messa a fuoco drammatica – propria di chi conosce e riconosce nella virtuosa invenzione belcantista un infallibile strumento espressivo e mai un fronzolo decorativo –, Jessica Pratt consegna al pubblico del Piermarini una Norma di grande pathos, modernissima in quella velata fragilità che emerge in filigrana là dove dignità e fierezza lucidano in superficie la corazza. Non a caso, tra i momenti topici della serata, v’è il duetto con Pollione, che sulla carta pur insiste sul registro a lei meno favorevole, ma nella pratica s’infiamma per quel porgere febbrile e vibrante che non lascia sprecata neanche una sillaba del testo, per quegli accenti staccati con immedesimazione totale, per quella capacità di dosare tensione e delicatezza in una linea canto sì cangiante e vivido da rendere tangibile il tormento interiore che poi è il cuore pulsante di tutto l’arco narrativo." ------------------ "With gracefully shaped sensitive phrasing rich in nuanches, soaring in those celestial agilities unleashed with absolute command and extraordinary dramatic focus - hallmarks of an artist who understands that bel canto virtuosity is a powerful means of expression, never mere ornamentation - Jessica Pratt delivers to the Piermarini audience a Norma of great pathos, strikingly modern in the veiled fragility that shimmers beneath the surface, where dignity and pride polish the outside armor. It’s no surprise that one of the evening’s most compelling moments is the duet with Pollione - though written in a register less naturally suited to her voice, it ignites in performance thanks to her fervent, feverish, vibrant delivery, in which not a single syllable is wasted. Every accent is shaped with total emotional immersion, and her ability to weave tension and tenderness into a vocal line so vivid and mercurial makes Norma’s inner torment - the very heartbeat of the opera’s narrative - painfully, tangibly real." Antonino Trotta - Ape Musicale

🇬🇧🇬🇧🇬🇧🇬🇧🇬🇧🇬🇧🇬🇧 “The Australian soprano managed to win over the La Scala audience, particularly during the first act, delivering a performance that can only be described as astounding. This is evident right from her extraordinary interpretation of the famous Casta Diva—performed, at Pratt’s own request and just as in Florence, in the original key of G Major—in which she displayed a highly mature interpretive ability. Thanks to her excellent intonation and astonishing breath control, she perfectly conveyed the mystically ecstatic character of the aria, which shone in all its moonlit emotionality. Doubling the triumph was the cabaletta Ah! Bello a me ritorna, which Pratt made dazzle with whirlwind coloratura and sublime high notes in the dazzling variations—a memorable performance that confirms the Australian soprano’s status as a global star of Bel Canto. Furthermore, what truly convinces is the cohesion between singing and acting in Pratt’s portrayal of Norma: the character’s constant emotional fluctuations were effectively rendered through a successful alternation of soft half-voices and soaring high notes, particularly evident in the vocally tortuous duets that run throughout the opera. Therefore, in light of a stellar performance—one that, once more experience with the role is gained, is destined to launch Pratt’s Norma(which already has the aura of a classic) into the pantheon of Bel Canto” - Gabriele d’Aprile Il Giornale della Musica 🇮🇹🇮🇹🇮🇹🇮🇹🇮🇹🇮🇹🇮🇹 “Il soprano australiano ha conquistato ugualmente il pubblico scaligero, in particolare durante il primo atto, fornendo una prova a dir poco strabiliante. Lo si evince già a partire dalla straordinaria resa della celebre Casta Diva – eseguita, su richiesta della stessa Pratt e proprio come a Firenze, nella tonalità originale di Sol Maggiore –, in cui la cantante ha sfoderato un’assai matura capacità interpretativa, restituendo alla perfezione, grazie all’ottima intonazione e allo sbalorditivo controllo del fiato, il carattere misticamente estatico dell’aria, che risplende in tutta la sua lunare emotività. A raddoppiare il trionfo è stata, subito dopo, la cabaletta Ah! Bello a me ritorna, che Pratt ha fatto brillare nelle turbinose colorature e nei sublimi acuti delle travolgenti variazioni: un’esecuzione memorabile, che conferma lo stato di stella mondiale del Belcanto del soprano australiano. Inoltre, a convincere pienamente è l’aderenza tra il canto e la recitazione con cui Pratt interpreta Norma: la costante oscillazione emotiva del personaggio è stata resa efficacemente con la felice alternanza di soavi mezzevoci e acuti svettanti, come si nota in particolare nei vocalmente tortuosi duetti che costellano tutta l’opera. Pertanto, a fronte di una prova maiuscola, destinata a lanciare – una volta acquisita maggiore esperienza con il ruolo – la Norma di Pratt (che ha già l’aura del classico) nell’olimpo del Belcanto. - Gabriele d’Aprile Il Giornale della Musica 🇪🇸🇪🇸🇪🇸🇪🇸🇪🇸🇪🇸🇪🇸 “La soprano australiana logró igualmente conquistar al público de La Scala, especialmente durante el primer acto, ofreciendo una actuación poco menos que deslumbrante. Esto se evidencia desde su extraordinaria interpretación de la célebre Casta Diva —ejecutada, a petición de la propia Pratt y como ya hiciera en Florencia, en la tonalidad original de Sol mayor—, en la que la cantante desplegó una madurez interpretativa notable, transmitiendo a la perfección, gracias a su excelente afinación y asombroso control del aliento, el carácter mística y extáticamente contemplativo del aria, que brilla con toda su lunar emotividad. A ese triunfo se sumó inmediatamente la cabaletta Ah! Bello a me ritorna, que Pratt hizo brillar con sus coloraturas vertiginosas y sus sublimes agudos en las arrolladoras variaciones: una ejecución memorable, que confirma el estatus de estrella mundial del Bel Canto de la soprano australiana. Además, resulta plenamente convincente la coherencia entre el canto y la interpretación actoral con la que Pratt encarna a Norma: la constante oscilación emocional del personaje fue expresada con eficacia mediante una lograda alternancia de delicadas medias voces y agudos resplandecientes, como se aprecia especialmente en los duettos, vocalmente intrincados, que atraviesan toda la ópera. Por lo tanto, ante una interpretación magistral, destinada —una vez que adquiera mayor experiencia en el rol— a consagrar a la Norma de Pratt (que ya posee el aura de lo clásico) en el olimpo del Bel Canto.” - Gabriele d’Aprile Il Giornale della Musica 🇫🇷🇫🇷🇫🇷🇫🇷🇫🇷🇫🇷🇫🇷🇫🇷 “La soprano australienne a tout de même conquis le public de la Scala, en particulier au cours du premier acte, livrant une prestation tout simplement éblouissante. Cela se perçoit dès la remarquable interprétation du célèbre Casta Diva – exécutée, à la demande même de Pratt et comme à Florence, dans la tonalité originale de sol majeur –, dans laquelle la chanteuse a déployé une maturité interprétative impressionnante, restituant à la perfection, grâce à une excellente justesse et un souffle d’un contrôle stupéfiant, le caractère mystique et extatique de l’air, qui resplendit dans toute sa lunatique émotion. Le triomphe a été redoublé immédiatement après avec la cabalette Ah ! Bello a me ritorna, que Pratt a fait briller par ses coloratures tourbillonnantes et ses aigus sublimes dans des variations enivrantes : une exécution mémorable, qui confirme le statut de star mondiale du bel canto de la soprano australienne. Par ailleurs, on est pleinement convaincu par l’adéquation entre le chant et le jeu scénique avec lesquels Pratt incarne Norma : la constante oscillation émotionnelle du personnage est rendue avec efficacité par l’alternance inspirée de demi-teintes suaves et d’aigus éclatants, comme on le remarque en particulier dans les duos, vocalement exigeants, qui jalonnent toute l’œuvre. Ainsi, face à une prestation magistrale, destinée – une fois le rôle davantage expérimenté – à projeter la Norma de Pratt (qui a déjà l’aura d’un classique) dans l’Olympe du bel canto.” - Gabriele d’Aprile Il Giornale della Musica