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/ / 29.03.2006


Roman Goncharov


Ophelia sane

Laura Claycomb closed ticket “Art coloratura”

Prior to American Laura Claycomb, called sensation, hope, and the star of the new generation active in the world of opera scenes in spectacular Philharmonic subscription of “The Art of coloratura” already made Sumi Jo and Anna Netrebko. Who presented the Moscow public masterovitymi doll and elegant lines of modern glazed vocal and operatic acting accordingly. If the first is amazing listener toy perfection and vocal prowess is not without second populist notes of sensuality and filed in the manner of a glamorous show, Claycomb in the company (and not only) looks and sounds a model of enlightened aristocracy.

She made her debut in 1994 in Geneva, in the opera “I Capuleti e I Montecchi” and then woke up famous, and most gentle bellinian Juliet was her finest roles, and perhaps part of the image.  Fragile, flexible, naive roles and yet very strong girls are her vocal style – a thin, flexible, delicate, whimsical sing-song, she sings with the ability to dizzying coloratura, so that they seem simple and gentle melodies. She’s great Gilda in “Rigoletto” (just sang that another one of this “crown” in the Opera Bastille) – image grows slowly, magic flexible voice accumulates, accumulates and is revealed in the game, making this Gilda not that varied, but all still magical. It – excellent Ophelia in “Hamlet” by Tomas: tender, once again, gentle and delicate, beautiful coming together with this tenderness to nothing, to the departing first in madness, and then in the afterlife high notes.

That Ophelia was the culmination of a stunning concert in Moscow by Claycomb, where she helped with varying success Orchestra “New Russia” and passionate intellectual conductor Teodor Currentzis. But do not think that Claycomb immediately captured the audience. She did this – her skill not catchy, not baffle paint, she did not force, is revealed gradually, in striving for subtlety, to become each thoroughbred miniatures it can even peretonchit as if prefer nedopet than outswing. It is not the sounding body, which makes this diva a singer in the traditional sense. She shines a kind of professional taste, quiet efficiency of vocal magic. So her “madness,” as Ophelia in the role, not overwhelming, tragic bellinian Amina (“La Sonnambula”) does not overwhelm, and the triumphant grace-poetess Corinna of “Journey to Reims” by Rossini not dazzle. Claycomb patient and timid, she’s a good, smart, working with views Harry Potter and wins, bewitching gradually.

She started with a strong gesture – with arias Shemakhan queen of “The Golden Cockerel”, which she sang once at the Tchaikovsky Competition in Moscow (then won the II prize) – and showed pupils’ respect for the text, but at the same time showed her Nouveau artificial sophistication. After she put Shemakhan in the company to Ravel (toy Aria Fire, “Child and the Spells”) and Stravinsky (porcelain Song of the Nightingale and Ann scene from “The Rake’s Progress”). Laura Claycomb showed no sympathy for the local ignorance and for one concert showed all facets of his skills, including proficiency in vocal language of the twentieth century, that her desire for delicate cantabile coloratura to perfection and not flashy magic professionally dug very decorated.

Not to say that the orchestra “New Russia” it was quite adequate sensitivity and versatility. Unlike his previous “project” performance (with Netrebko, Villazon and excellent conductor Michael Gyuttlerom) now it sounded about even overact when the slave hot Currentzis played the overture to “Candide” and Rossini’s “The Thieving Magpie”, respectively. Yet in the opera by booking with the choir Boris Tevlin, Claycomb furrow not spoil – it has built and run it with perseverance, calm brilliance and delight without harming sober reason.


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