French soprano Dessay gives up opera but not the stage.
Natalie Dessay made a brilliant — but brief — stab at Cleopatra in Paris, while Villazon’s debut Werther augured well Hugh Canning Sunday January 30 2011, 12.01am, The Sunday Times.
Natalie Dessay is a great favourite of mine. I have followed her career with interest ever since I saw her many years ago as Olympia in Tales of Hoffmann. She may have been mainly a high-note specialist in those days but she has expanded her range into bel canto, at first in French and then Italian and, to my mind, she is currently the world's leading Donizetti interpreter.
Handel s popular opera, Giulio Cesare, is named after the great Roman emperor, but its most memorable character is Cleopatra. In this production by Laurent Pelly from Paris splendid Palais Garnier, the role of the Egyptian queen is assumed for the first time by Natalie Dessay, described by the Telegraph as a supreme vocal enchantress.
Paris Giulio Cesare Hugh Canning. Natalie Dessay’s repertoire seems to be in a state of flux. Although she recently returned to Lucia di Lammermoor at the Met, her first Cleopatra perhaps suggests a realignment of priorities, away from the high-flying bel canto roles towards music of less wide-ranging compass, if no less demanding technically and musically.
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Giulio Cesare, the most popular of Handel’s operas, is named after the great Roman emperor, but its most memorable character is Cleopatra. In this production by Laurent Pelly from Paris’ splendid Palais Garnier, the role of the Egyptian queen is assumed for the first time by Natalie Dessay, described by the Telegraph as “a supreme vocal enchantress”.