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Great success for Alejandro Roy and Néstor Galván at
the Opéra de Limoges May 29th, 2024 |
Following the premiere of Pagliacci on 15 May at the Opéra de Limoges, the international press has highlighted the great work of Alejandro Roy and Néstor Galván as Canio and Beppe, respectively.
The magazine ResMusica highlights the vocal power of Roy and the chromatic palette of Galván: ‘First of all, let us highlight the performance of Alejandro Roy, a magnificent Canio with a powerful and wide voice that brings colours and nuances, between brutality and deep despondency. Through the attention he pays to words and diction, ‘vesti la giubba’ is simply heartbreaking because it brings back the simplicity and humility of approach to the staging.’
‘Finally, Néstor Galván's Beppe completes the cast with great panache and colours particularly appreciated in the role of Arlequino.’
For its part, the magazine Ôlyrix, specialised in opera, has highlighted the great stage presence of both tenors: ‘Alejandro Roy (as Canio, aka Pagliaccio) is as comfortable vocally as on stage: the voice is powerful and penetrating, the timbre is prominent and the famous “Vesti la giubba” is served by a tearful intonation and a convulsive laugh of total credibility. An equally palpable credibility in the incarnation of a clown who makes you laugh less than he scares and who comes to end his own life in a comedy much more medical than sentimental.’
‘Finally, Néstor Galván performs Beppe alias Arlequín with a certain charisma, a dashing tenor carried by a nourished medium and by a singing line that passes with equal ease from the forte to the mezza voce’.
In the same vein, the French media Resonances Lyriques noted that: ‘It is with a superb, powerful, modulating voice, perfectly invested with the effects of the messa di voce as well as the nuances brought by the richness of his timbre, that the tenor Alejandro Roy defends the role of Canio. The high register is assured with astonishing mastery. The aura of the role is not to be separated from the vocal qualities of the performer, but also from an interpretation linked to the dramatic tensions of the role and the emotional affections created by the situations (in particular in ‘Ridi Pagliaccio’ and ‘No! Pagliaccio no son’). This performer was a real revelation for the audience. Let's add that Alejandro Roy is also a specialist in Spanish opera and zarzuela.’
‘Néstor Galván sings elegantly his aria “O Colombina, il tenero”, as a continuation of the duet with a controlled singing line and the sensitive expressiveness of the lover.’
The magazine ResMusica highlights the vocal power of Roy and the chromatic palette of Galván: ‘First of all, let us highlight the performance of Alejandro Roy, a magnificent Canio with a powerful and wide voice that brings colours and nuances, between brutality and deep despondency. Through the attention he pays to words and diction, ‘vesti la giubba’ is simply heartbreaking because it brings back the simplicity and humility of approach to the staging.’
‘Finally, Néstor Galván's Beppe completes the cast with great panache and colours particularly appreciated in the role of Arlequino.’
For its part, the magazine Ôlyrix, specialised in opera, has highlighted the great stage presence of both tenors: ‘Alejandro Roy (as Canio, aka Pagliaccio) is as comfortable vocally as on stage: the voice is powerful and penetrating, the timbre is prominent and the famous “Vesti la giubba” is served by a tearful intonation and a convulsive laugh of total credibility. An equally palpable credibility in the incarnation of a clown who makes you laugh less than he scares and who comes to end his own life in a comedy much more medical than sentimental.’
‘Finally, Néstor Galván performs Beppe alias Arlequín with a certain charisma, a dashing tenor carried by a nourished medium and by a singing line that passes with equal ease from the forte to the mezza voce’.
In the same vein, the French media Resonances Lyriques noted that: ‘It is with a superb, powerful, modulating voice, perfectly invested with the effects of the messa di voce as well as the nuances brought by the richness of his timbre, that the tenor Alejandro Roy defends the role of Canio. The high register is assured with astonishing mastery. The aura of the role is not to be separated from the vocal qualities of the performer, but also from an interpretation linked to the dramatic tensions of the role and the emotional affections created by the situations (in particular in ‘Ridi Pagliaccio’ and ‘No! Pagliaccio no son’). This performer was a real revelation for the audience. Let's add that Alejandro Roy is also a specialist in Spanish opera and zarzuela.’
‘Néstor Galván sings elegantly his aria “O Colombina, il tenero”, as a continuation of the duet with a controlled singing line and the sensitive expressiveness of the lover.’
© Timothée Buisson