Génesis Moreno's overwhelming success in Roméo et Juliette
May 29th, 2024
On the 22nd of May, the production of Roméo et Juliette premiered at Teatre Principal in Palma as the closing production of its 38th opera season, and the specialised press has echoed the great work done by soprano Génesis Moreno. Thus, media such as Ópera Actual have highlighted the soprano's great vitality, as well as her vocal qualities: ‘If the spectators were expecting a submissive and enamoured Juliette, Génesis Moreno dazzled with her energy, vitality and absolute vocal mastery, which she already displayed in the arietta “Je veux vivre”: her voice is essentially brilliant, with an almost metallic crystal in the high notes; and one might think that this powerful singing does not facilitate a broad expressiveness, but the truth is that this is not the case. From the second act onwards, one could see how Juan Noval-Moro and the Venezuelan soprano made their characters grow emotionally, how their voices allowed for an exchange of increasingly delicate interpretative sensibilities’.
For its part, the daily Ara Balears highlights the Venezuelan singer's interpretative power throughout the opera: ‘I would say that Non, non! Je ne veux pas t'ecouter plus longtemps, from a Juliette performed by Génesis Moreno, was like a redeeming balm. Suddenly everything seemed to fall into place. The amorous moment par excellence arrived, forcing Moreno into an acrobatic display, coupled with the vocal, which drew attention to her performance, more like that of Simeó Estilita than that of Juliette on the balcony of her room, which did not detract in any way from her vocal qualities and resources. From the first to the last. It was even as if she was carrying the show on her back, and was building it up to an almost remarkable final result, not without the help of a rather interesting local batch.’ In the same vein, Okdiario comments: ‘In the same way that seeing Venezuelan-born soprano Génesis Moreno in the role of Juliet is more than enough reason to pay attention to this production of Roméo et Juliette, which comes to us from the Opéra-Comique de Paris. This detail deserves clarification because the comic opera label could be misleading for the spectator. [...] This is the ecosystem in which the cadre of solo voices and the chorus move, with the good fortune of having an exceptional Juliette, defined by Platea Magazine as ‘a fantastic voice, backed by an evident mastery of the stage and a very natural and easy singing’. It is an added value that this is said by independent media, which does not receive public subsidies (a virtue in these times); such a media with the vocation of putting the word at the service of music’, as can be read on its official website. Indeed, Génesis Moreno rises as the great triumphant in each performance, displaying her vocal virtuosity and interpretative gifts in equal measure. Very well accompanied by the Asturian tenor Juan Noval-Moro, in the role of Romeo, of elegant textures although always subject to the acting charm of his Venezuelan partner. The soprano's naturalness in the balcony scene was impressive, despite being suspended at a great height’.