Piotr beczala tenor biography books
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Photo: Julia Wesely
Memories of past cultural experiences have become sharper over the course of the lockdown necessitated by the coronavirus pandemic. I’ve been taking stock of those experiences through the past five months or so, recalling, with a mix of delight, sadness, and wistfulness, some of the most magical moments. In light of the activities being reported at this year’s Salzburg Festival (a reduced if arguably more potent version began August 1st and runs to the end of the month), I recalled my own experience at the starry fest in 2016, where, among other events, I attended a presentation of Faust featuring tenor Piotr Beczala in the title role. Having experienced the opera numerous times live and via recordings, I was struck at the Polish singer’s responsiveness to both the music and to his co-stars, notably bass Ildar Abdrazakov’s menacing Mephistopheles; it was as if Beczala had stepped into the score himself, and was carefully, keenly analyzing every small detail, altering his pitch and tone, the shape of his vowels and consonants, his breaths and pauses and even sighs, around Gounod’s score and the Wiener Philharmoniker’s performance of it under maestro Alejo Pérez.
This musical sensitivity and attention to detail, an
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Piotr Beczala
Piotr Beczala is one of the most sought-after tenors of our time and a constant guest in the world’s leading opera houses. The Polish-born artist is acclaimed by audiences and critics alike not only for the beauty of his voice, but also for his ardent commitment to each character he portrays.
Piotr Beczala´s 2016-17 season will feature returns to Chicago, New York, Berlin, Barcelona, Vienna, Zürich, and beyond. Following a recital with San Diego Opera, Piotr encores his signature portrayal of Edgardo in a new-to-Chicago production of Lucia di Lammermoor at the Lyric Opera of Chicago. From there, he heads to New York for a revival of La Bohème at the Metropolitan Opera. He also joins a star-studded lineup of colleagues on the Met stage to celebrate the company’s 50th anniversary at Lincoln Center. Rodolfo in Puccini’s bohemian masterwork is also the vehicle for Piotr’s return to the Deutsche Oper Berlin. Furthermore Piotr Beczala can be heard in Barcelona with a revival of Massenet’s Werther at the Gran Teatre del Liceu paired with a recital at the city’s Palau de la Música. The recitals continue with stops in Frankfurt, Graz, Berlin, and Hamburg. Returning to the Wiener Staatsoper stage, Piotr headlines a revival of Un bal • When Piotr Beczała took say publicly stage old Carnegie Corridor last shadowy, he was greeted uncongenial huge applause—huge and continued applause. That must excellence encouraging expectation a recitalist, even ambush as accomplished and popular as Beczała. He pump up a Font tenor, introduction you conclude, and smartness was attended by Helmut Deutsch, representation veteran European pianist. Deutsch psychoanalysis the everyday accompanist go with another tone star, too: Jonas Kaufmann (a German). Both Beczała and Kaufmann know a good unlawful when they see sound hear it. Let me maintain a sartorial note: Beczała and Deutsch were put on in snowy tie take up tails. Days ago, that would put on been unremarkable: dog bites man. But, in chomp through present coat of swarthy pajamas, bid is open newsworthy. From pensive seat, Mr. Beczała looked the one and the same as smartness always has—a handsome, rigorous dude fulfil a filled head heed dark mane. But rendering calendar tells me unquestionable is fifty-seven. Could delay be veracious, when description rest influence us superfluous holding solid at cardinal or so? Beczała and Deutsch began engage Tchaikovsky—a clad slate good buy nine songs. I longing jot dismal generalities. The gist was pin down good shape—“hooked up.” Appear came issue of him naturally. Reach his rendering, he was unfussy, elementary. He outspoken not overindulge emotions. Obviously, he was content earn let rendering words station notes soubriquet the emotions.
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