Word: tomowa
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...recording, with soprano Anna Tomowa-Sintow in the title role and John Mauceri conducting, is probably as good a performance as this very demanding work is likely to get. But for a better take on Korngold's particular genius, rent a videocassette of The Private Lives of Elizabeth and Essex...
MOZART: Don Giovanni. Samuel Ramey, Don Giovanni; Ferruccio Furlanetto, Leporello; Anna Tomowa-Sintow, Donna Anna; Agnes Baltsa, Donna Elvira; Kathleen Battle, Zerlina; Herbert von Karajan conducting the Berlin Philharmonic (Deutsche Grammophon). Salzburg Recital. Soprano Kathleen Battle, Pianist James Levine...
...always been heavy and rhythmically sluggish, bereft of joy or bounce. His new recording, a warm-up for his production of the opera in Salzburg this spring and summer, never comes to fiery, diabolical life. It wastes the . talents of Ramey and Battle, and features an excruciating performance by Tomowa-Sintow as the hectoring, humorless Donna Anna. Far more harmonious is Battle's recording from her 1984 recital at Karajan's Salzburg Festival. The material is her familiar mix of early English songs by Purcell and Handel, German lieder, French chansons, and spirituals, but she sings with such crystalline vocalism...
...night devoted to singing, and the cast, conducted by the company's music director, James Levine, was a rich international assemblage that included the splendid Bulgarian soprano Anna Tomowa-Sintow as the gentle maiden Elsa, the fiery Hungarian soprano Eva Marton as the scheming Ortrud and the hearty Danish bass Aage Haugland as King Henry the Fowler. Most notable of all, as Lohengrin, the mysterious knight of the Holy Grail, it featured Placido Domingo on one of his rare forays into the German repertoire. What looked at first like a mismatch turned out to be a gamble that paid...
...Turandot, made a gloriously fearsome opponent as the evil sorceress. Her blazing fury as she confronts her weak husband Telramund (Baritone Franz-Ferdinand Nentwig) near the start of Act II won a spontaneous ovation that stopped the show. Providing a worthy foil for Marton's villainy was Tomowa-Sintow, a lyric soprano with a pure, unforced voice that improved after a somewhat shaky first act; her fateful exchange with Ortrud in the second act's balcony scene evoked the stark contrast of light and dark that Wagner wanted. Alas, Elsa is not the most dramatically complex of Wagner...
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