I’ve just been listening to Revive; a new recital disk from Elina Garanča. It marks her move into more dramatic territory as she enters her fifth decade. It also says quite a lot about how she wants to develop her career. There’s a very personal introductory essay titled Strong Women in Moments of Weakness and it seems to me that she’s looking to find her place in the 19th century French/Italian romantic/verismo repertoire as opposed to, say, Strauss or Wagner. Certainly the pieces on the disk represent roles like Eboli, Didon, Delila and Hérodiade, as well as some more obscure stuff like Musette from the Leoncavallo La Bohème and Anne from Saint-Saëns Henry VIII.
Hearing Anita Rachvelishvili sing Carmen on the main stage of the Four Seasons Centre, it was obvious that she had a huge voice with really interesting colours. The full scope only became apparent to me hearing her in recital in the RBA today. It’s an extraordinary instrument that can go from a very delicate pianissimo to very loud indeed without any obvious change in quality. There’s no steeliness or squalliness as the volume ramps up. Just the same colours and rich tone. A blow by blow account of a concert that included music in Georgian by Tabidze, Russian by Rachmaninov, French by Fauré and Spanish by de Falla seems superfluous. There was delicacy. There was drama. There was humour. There was playfulness. All in less than an hour. And to cap it off there were encores; Mon cœur s’ouvre à ta voix from Samson et Delilah and, perhaps inevitably, the Seguidilla from Carmen. Stephen Hargreaves was at the piano. One wonders if he actually lives at the hall. He covered a wide range of material from the delicate to the impressively percussive with his customary skill.
Photo credit: Lara Hintelmann