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Resounding success for Marifé Nogales as Smeton in Anna Bolena
12 of September of 2024 |
After the premiere, on September 9, of Anna Bolena at the Campoamor Theater, the press has echoed the great work done by mezzo-soprano Marifé Nogales. Thus, Opera World magazine highlights the following:
"Continuing with the order of appearance on stage, another female voice that triumphed in the male role of the musician Smeton was that of Marifé Nogales, who maintains an impeccable vocal state for a career that is always of quality: clear low register and high notes full of fine ornaments solved as her role as harpist (beautiful sound and intervention by José Antonio Domené in the pit) Nogales showed her quality along with the ladies of the chorus, more pawns necessary for this operistic game, without whites or blacks, but soft blues with the same warmth of their white voices, which demonstrated a perfect fit from the beginning of the performance."
For its part, the magazine Scherzo highlights the timbral qualities of the mezzo-soprano:
"Marifé Nogales was great in her role as Smeton with a dark and light voice"
while La Nueva España points out the work of the group:
"Carlos Daza, Marifé Nogales and Moisés Marín completed the cast, all of them at great heights in their respective roles"
although the particular intervention of Nogales also stands out:
"Smeton was played by Marifé Nogales, who was at a very good level in each of her interventions. Great start with her "Deh! Non voler costringere" which was not accompanied by a ridiculous harp costume that was intended to characterize the court musician. All in all, Nogales was powerful in the bass, reliable in the treble and with a marked singing line full of musicality. "
The magazine Ópera Actual also highlights, despite the costumes, the vocal qualities of Marifé Nogales:
"Marifé Nogales, for her part, was an outstanding Smeton – shame about the childish harp costume she had to wear in the first scene –, with a very suggestive singing line."
"Continuing with the order of appearance on stage, another female voice that triumphed in the male role of the musician Smeton was that of Marifé Nogales, who maintains an impeccable vocal state for a career that is always of quality: clear low register and high notes full of fine ornaments solved as her role as harpist (beautiful sound and intervention by José Antonio Domené in the pit) Nogales showed her quality along with the ladies of the chorus, more pawns necessary for this operistic game, without whites or blacks, but soft blues with the same warmth of their white voices, which demonstrated a perfect fit from the beginning of the performance."
For its part, the magazine Scherzo highlights the timbral qualities of the mezzo-soprano:
"Marifé Nogales was great in her role as Smeton with a dark and light voice"
while La Nueva España points out the work of the group:
"Carlos Daza, Marifé Nogales and Moisés Marín completed the cast, all of them at great heights in their respective roles"
although the particular intervention of Nogales also stands out:
"Smeton was played by Marifé Nogales, who was at a very good level in each of her interventions. Great start with her "Deh! Non voler costringere" which was not accompanied by a ridiculous harp costume that was intended to characterize the court musician. All in all, Nogales was powerful in the bass, reliable in the treble and with a marked singing line full of musicality. "
The magazine Ópera Actual also highlights, despite the costumes, the vocal qualities of Marifé Nogales:
"Marifé Nogales, for her part, was an outstanding Smeton – shame about the childish harp costume she had to wear in the first scene –, with a very suggestive singing line."
