Donizetti’s Anna Bolena with Teatro de la Maestranza

January 14th, 2017

“There are voices that, when they are heard live for the first time, impact you from the first note, where you recognize the exceptional timbre, the quality of the instrument, the beauty and the mastery of singing. The performance and the end is that unique taste that explains your love for the opera.That night, that voice, then become part of your operatic “history”, those days that you will later remember in the corrillos and talk with the somewhat geriatric comment of “I heard the Anna Bolena of Angela Meade’s in the Maestranza”.

The performance this past Saturday the 8th of Donizetti’s Anna Bolena can be described as a great success, highlighting the work of the two female protagonists, plethoric in the performance of their complicated but brilliant roles. I will not repeat again some of the virtues that the American Angela Meade deploys with her recreation of the queen Tudor, but to point out how with that vocal quality, the treasures provides an exceptional interpretation…full of Shades chiseled with mastery. Highlight the robustness of her instrument, much less light than what we are accustomed to hear on this paper but that allows you to traverse the whole range without any problem, with a treble never screeching, with a well audible and round bass. Power, sound, perfect projection, are other characteristics of its interpretation. Meade becomes the real protagonist of the work, not only for what Donizetti wrote, but for the absolute dominance of the scene and the completeness of the characterization of the queen finally decapitated. Difficult to highlight one or another moment of her work, but of course, the greatest enjoyment for the fan was his final scene in the Tower of London with a few notes of those that leave you stuck to the armchair. Once again, magnificent.”

– Platea Magazine, Javier del Olivo

“These performances of Anna Bolena in Seville were highly anticipated, due mainly to the presence of American soprano Angela Meade at the head of the cast. The result definitely fulfilled one’s expectations: remarkable musical direction and a fine group of singers, with a protagonist who shone in a special way….Angela Meade was outstanding as Anna Bolena, especially in the last act of the opera, and particularly in the final scene. She was superb in the aria ‘al dolce guidami’; and she finished with an impressive ‘coppia iniqua’ – a true exhibition of technique and strength.”

– Seen and Heard International, José M. Irurzun

“The score written by Donizetti is a lyrical tragedy that centers the dramatic charge on the love trio formed by Anna, Enrico and Giovanna, skillfully weaving a warp of feelings and emotions that are useful for writing some of the most beautiful arias of his literature. The performance requires a cast of powerful voices, capable of fulfilling the vocal demands of the work in the field of fate and coloratura, especially in the female roles. Undoubtedly, it is necessary to emphasize in this sense the colossal work of the soprano Angela Meade, the real queen of the scene, who on numerous occasions surprised by her clean and powerful timbre, her perfect tuning and diction, and her thoracic capacity to maintain long phrases full of colorings and treble that are almost impossible. From the initial romanza “Come, Innocent giovine“ to the final aria “Al dolce guidami “, Angela Meade was perfect in a powerful performance and full of subtle nuances that shows the ductility of her voice and her good taste and musicality.”

– Opera World, Gonzalo Roldán Herencia