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Spectacular Maribel Ortega as Abigaille in Nabucco
June 27 of 2024 |
After the premiere, a few days ago, at the Teatro de la Maestranza of the Nabucco opera, the media have echoed the spectacular work done by the soprano Maribel Ortega, highlighting the great technical and interpretive qualities of the soprano from Jerez
Thus, in the Diario de Sevilla you can read that: "Maribel Ortega offers the dramatic voice and the precise steel tone for Abigaille: high-power trebles are complemented by a solid regulatory technique and a very careful singing line. Her scene at the beginning of the second act, filled with terrifying intervallic jumps resolved without difficulty thanks to a solid support of the bass notes. But also outstanding is its mournful final aria, sung on the lips.".
On the other hand, ABC reflects that "Jerez native Maribel Ortega faced a devilish role, as we said in the premiere. Already in 'Terzetino' Verdi forces Abigail into some complex coloraturas and even a high C that falls chromatically like a faint. And let's not say in the second act, where from the recitative we already find the intervallic jumps and the high notes that are linked as if nothing had happened, generally from the high to low, which the soprano gave with ease and confidence. A well-timbered, elegant voice. , persuasive and with a piercing delivery that contrasts with the lyrical passages, such as that of his bel canto cavatina (which by the way, as in the Siri premiere, did not receive any applause, not even in the cabaletta)."
Thus, in the Diario de Sevilla you can read that: "Maribel Ortega offers the dramatic voice and the precise steel tone for Abigaille: high-power trebles are complemented by a solid regulatory technique and a very careful singing line. Her scene at the beginning of the second act, filled with terrifying intervallic jumps resolved without difficulty thanks to a solid support of the bass notes. But also outstanding is its mournful final aria, sung on the lips.".
On the other hand, ABC reflects that "Jerez native Maribel Ortega faced a devilish role, as we said in the premiere. Already in 'Terzetino' Verdi forces Abigail into some complex coloraturas and even a high C that falls chromatically like a faint. And let's not say in the second act, where from the recitative we already find the intervallic jumps and the high notes that are linked as if nothing had happened, generally from the high to low, which the soprano gave with ease and confidence. A well-timbered, elegant voice. , persuasive and with a piercing delivery that contrasts with the lyrical passages, such as that of his bel canto cavatina (which by the way, as in the Siri premiere, did not receive any applause, not even in the cabaletta)."
