After thirty years, with Daria Masiero the voice returns to the Cervo International Chamber Music Festival

“… During the summer months, Cervo and its festival are an unmissable event for chamber music regulars, but not only, the festival, in fact, while maintaining its roots firmly in the classic chamber repertoire, has since opened the own horizons on other forms and genres: a characteristic, perhaps no longer so original, respected even today .. Sifting through the seventeen appointments of this fifty-fifth edition, we can in fact also find the names of Stefano Bollani and Fabrizio Bosso for two jazz evenings, an appointment dedicated to Celtic music (with the harp of Vicenzo Zitello), an original reinterpretation of the Argentine culture by the trio Servillo, Girotto and Mangalavite, the theater with “The legend of Moby Dick” by Igor Chierici.

And so this year the gathered environment of Piazza dei Corallini has been transformed into an evocative open-air living room framed by the majestic and soaring rococo facade of the church of San Giovanni, with stone walls adorned and softened by colorful and variegated blooms. from secluded and sleepy little houses and the amazing and wide view of the boundless marine horizon.

Here a curious, cultured and informal audience attended the beautiful concert last night of the soprano Daria Masiero who, with Gisella Dapueto on the piano, brought the voice again to the Festival were it had been missing for thirty years.

The peculiar versatility of Masiero was also manifested in the program prepared for the public of Cervo where some Lieder, from us of rare listening, of Sibelius (precisely the opera 38) and of Grieg (among which also the famous “Canzone di Solveig” “In the French version) were joined in the second part of the concert, with arias drawn from Italian melodrama (“Ebben? Ne andrò lontana” , “Vissi d’arte”, “Oh mio babbino caro” and “Un bel dì vedremo”). Daria Masiero immediately conquered Cervo for a frankness of character that resulted in a happy expressive spontaneity. Qualities that have benefited in a particular way in the concise snapshots of the liederistic pages. In these refined pieces of Sibelius and Grieg, distinguished by local colors and a late romantic sensibility, the singer has paid utmost care in the rendering of the meaning of the texts constantly aiming at a ductile phrasing and molded on every single word. Masiero’s intentions have allowed the public to fully appreciate the peculiarities of these compositions that assimilate the German model by inserting melodic and rhythmic characters influenced by the folk tradition.

The soprano has shown to have an excellent setting, with an emission always well in focus, and a ductile and fresh voice. In addition to this, both in the liederistic pieces and in the operatic pages, we noticed in the Masiero song a particular homogeneity and a pasty color. We found extraordinary the voice of the soloist, from the most lyrical – pushed and dramatic, in the two Puccini arias “Oh mio babbino caro” and “Un bel dì vedremo”. Although we were in an open space, the half-voices seemed perfectly sustained, while the high register was always full-bodied. For his part, Gisella Dapueto assured an always reactive and vigilant accompaniment in grasping the singer’s intentions. Huge applause for the two encores chosen by Masiero at the end of the evening: a touching tribute to Genoa with “Ma se ghe penso” and a throbbing “I ‘te vurria vasà” “.

Operaclick, 23 August 2018

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