In a recent interview broadcast on Latvian radio, Inga Kalna mentioned: “I go the place my voice normally takes me”. This is also the name of the evening of vocal chamber music to be held on September 3 at the Mazaja Mežotne Palace, which the singer will carry out with each other with pianist Diana Ketler. The phases of Inga Kalnas’ soprano development are marked by her solo live performance at the Latvian Nationwide Opera (LNO). In her initial large anniversary concert at the LNO twenty a long time back, she sang the new music of Georg Friedrich Handel, and now Inga Kalna sang absolutely all (!) The oratories of the terrific German Baroque master in opera houses and live performance halls about the earth. On the other hand, ideal right here in Riga, at the starting of the singer’s vocation, we were delighted with the brilliant interpretation of the most important purpose of her in the manufacturing of Alčina. Celebrating the anniversary of her function on the LNO stage, Inga Kalna sang an very wonderful and particularly advanced track nice singing system, for which she was awarded the 2014 Grand Tunes Award in the category Concert of the year. On the other hand, on the situation of this year’s anniversary, the time has at last occur for a solo live performance with a program of arias by Giuseppe Verdi, which we seasoned at the LNO in the warm tropical evening of August 14th.
Voice is the electric power of destiny
Relating to the Inga Kalna equation. Verdi, performed by the singer and the LNO orchestra beneath the management of conductor Mārtiņš Ozoliņš, demands a small clarifying disclaimer, mainly because the singer, of study course, is no stranger to this composer’s tunes and some of the Verdi roles performed by Inga Kalnas was heard right here, in the White Household of our audio, where Gilda has been participating in for a extended time (Rigoleto), Viola (Traviata) a Dezdemonu (Othello in a live performance in 2010 with each other with tenor Alexander Antonenko). However, only two parts of this soprano lyric repertoire ended up integrated in Inga Kalna’s solo night: the very first element of the live performance was topped by Leonora da The powers of fate in the fourth act, the artist’s heat voice concentrates a motivation for peace and appreciate that is unachievable in this world, till the drama that brews in the history, deeply hidden, finally explodes in all its alarming pressure.
Desdemona’s aria, designed and loaded in emotional type and material, and the subsequent prayer to the Mom of God, in which Desdemona reconciles with her unjust and inescapable fate, turned an emotional emphasize of the night. In creating this expansive scene, Inga Kalna brilliantly and sincerely disclosed the two the drama of the heroine (from melancholy unhappiness to the premonitions of loss of life flaring up), as well as the internal peace and enlightenment of the soul observed in prayer. .
Generally human
Inga Kalnas’ general performance at the Opera is often an event. She is a sensitive, soulful and clever artist with a finely honed vocal procedure. She enables you to generate a sleek move (as, for illustration, in Leonora’s air Peace, peace, my God you do not work The ability of destiny), and amaze with the virtuous great singing sort colorature, also existing in the lesser identified operas of Verdi’s early resourceful period of time (1842-1849) picked for this concert Robbers, Corsair And Divi Foscari in Aryan musical language.
It is attribute of people to resonate in a particular way and refer to what is presently acquainted. Which is why the “great outdated tunes” are constantly so close to my coronary heart, in this circumstance, individuals web pages of opera that have been beloved for a extensive time. Even so, the voice of Inga Kalnas pleases both equally in arias that we know just about by coronary heart, and in unheard rarities. Her voice hits the mark, be it the greatest pitch, a unexpected and specific leap of the melody on two octaves (opera Divi Foscari in the spectacular beginning of Lucrezia’s aria) or simply just the listener’s coronary heart. Inga Kalnas’ voice usually talks about this.
The effectiveness of the singer fascinates with a refined and organic phrasing, a intriguing sound lights, a shocking and heated pianissimo, with which Inga Kalna can and can find the money for to embellish even the highest soprano seems. She can also enjoy with her voice even though she sings a thriller. Over all, her creative message is generally deeply human. She reveals in a delicate, profound and vivid way the ordeals of the figures, the emotional earth of a woman. In this sense you agree with Verdi, in whose functions we meet up with all varieties of females and their destinies. From queens amid the intrigues of energy, like, lifestyle and death to a courtesan or an innocent girl, daughter of a court jester who is aware of how to adore and sacrifice himself faithfully and selflessly.
Together with the voices of opera singers, the voices of the orchestra’s solo instruments stand out in Verdi’s scores – oboes, clarinets, flutes, cellos, violins. The exciting exhibition of the perform of the cellist Inga Ozola Burglars in the elegiacally unhappy introduction it even sounded pretty much like an additional aria, confirming as soon as yet again that it is not for nothing that the cello is viewed as the closest instrument to the human voice.
Thrilling discoveries
So far, Inga Kalna has proven herself initially and foremost as an fantastic interpreter of the opera pleasant singing Baroque style and repertoire singer. She also shines in the vocal sections of the operas by Verdi, Puccini and Poulenc written for the lyric soprano, getting not too long ago designed her debut in the dramatic function of Tosca. Inga Kalna is an intelligent interpretive artist who digs deep. She is familiar with her voice properly and listens meticulously to her lively changes. She wisely results in concert applications, without having succumbing to impulsive desires.
Inga Kalna has the spirit of a researcher and a new discoverer, which forces her to deepen and revise her technique to earlier sung compositions, and to offer you herself and listeners the discoveries of the repertoire. The artist chooses the complicated route, and this enables her to expose herself with ever new inventive traits and vocal shades. The prosperous solo night featured quite a few of these discoveries. Initial: the performs of Friedrich Schiller Robbers the heroine Amalia, for whom the lovely and melodious songs at the commencing of the aria and the extremely virtuosic and energetic continuation whole of pathos in the entire spectrum demonstrate wonderful singing that means in the radical apparatus of the Verdi type. Inga Kalna fills it with warm sincerity and pain, as perfectly as determination, vocal lightness and grace, crowned by a good sharp peak (C) in the finale.
Medora’s like tale from the opera, intertwined with forebodings of tenderness and sadness at the exact same time, sounded ethereal and faintly. Corsair. Each and every intonation of the tune has been carefully, delicately cultivated. Inga Kalna tastefully graced this aria with a thriller, but the true paradise to take pleasure in thrillers for the general public was in Lucrezia’s aria from the opera Divi Foscari, in which the going melody and sung with sensation and the diversified and imaginative expressive shade palette enchant you: each with lyrical and intentionally identified and passionate nuances. In the accompaniment of the concert, the aria of the titular heroine sung incredibly, velvety, warm, caressing and emotionally saturated by Francesco Chilea Adriana Lecouvreur offers us hope that the voice of Inga Kalnas will be heard in the up coming premiere of this opera at the Latvian Nationwide Opera in the new year. I do not know how justified these expectations are, mainly because there is still no much more concrete information.
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