".Altiveros’ sound is darker, creamy, sensuous, but she can fill it with so much drama that the stereotyped tropes of a Baroque lament offers a fully rounded portrait of a woman’s pain…sprezzatura personified." Leading Ladies: Barbara Strozzi and the female virtuosi of the 17th century, Pacific MusicWorks, 2019 (Seattle, WA) “The most effective moment, for me, was the revelation of letters from an Irish woman, starving in the potato famine of the mid-19th century, writing to her son, who presumably emigrated to the US. “An outstanding cast headed by Tess Altiveros as a particularly soulful child.”īorders (world premiere) by John Muelheisen, 2019 (Carnegie Hall, NY) L’enfant et les sortilèges, Pacific Symphony, 2019 (Orange County, CA) As emotions grew more intense, and notes rose higher in the scale, the warmth of her portrayal drove the opera’s message straight to the heart…her triumph in a role that is, by its very nature, the antithesis of a prima donna vehicle declared her potential for a major career.” “Altiveros, who was onstage much of the time, melded a fine voice that resounded of inner strength with a sympathetic countenance that bespoke complete identification with her role. The Falling and the Rising, Seattle Opera, 2019 (Seattle, WA) “Seattle's own Tess Altiveros in the role of Giannetta adds her soaring soprano to the touching and hilarious shenanigans that ensue.” “Molto ben riuscita la realizzazione del personaggio di Giannetta da parte di Tess Altiveros: vocalità ricca, rotonda, ben controllata, ha mostrato ottime doti drammatiche e musicali sia nei numeri con il coro, sia nei concertati.” Her beautiful tone and playfulness in the second act with “Saria possibile” were worth the wait.” “Seattle Opera regular Tess Altiveros brought attitude to Giannetta, giving her flair that made her more than just Adina’s sidekick. L’Elisir d’Amore, Seattle Opera, 2022 (Seattle, WA)
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