Bellissima Mariella Devia, a night to remember !(1-XII-2012)

My idea is that someone at Marseilles Opera House has a serious crush on this unique artist, full of energy, who sings like a goddess in the Bel Canto paradise and serves this music heavenly because of course she has no problem of style and intonation.

For many years now she has been the acquired taste of opera -goers who enjoy Bel Canto, because she is a true bel cantist in the tradition! Do not ask me about the proper definition of this type of singing, it is an Italian style which has its aficionados, proper specialists in cabalettas and trills. If you enjoy Bellini, Rossini, Donizetti and Verdi (not the late operas though) you are sure to appreciate Bel Canto. As for me, I go according to my ears ' delight and Mariella Devia is definitely my favourite in this realm. I was told the other night (someone very influential who I admire for his choice now)that she is the only one left. I saw her Anna Bolena at the Maggio Musicale Fiorentino: I loved it a lot, it is my first and unique (so far) Anna Bolena on stage and it was an amazing performance. When I compare her interpretation and singing to the younger Anna Netrebko I only saw on my tv screen in this role, I still prefer the musicality and style of singing from Mariella Devia. Before I start chatting about the concert on Dec the 1st, I must point out it is the first anniversaty of the bel canto concert we enjoyed last year casting Madame Devia in Roberto Devereux for four productions. My gratitude goes to Monsieur Maurice Xiberras, Marseille Opera Director, who invited Madame Devia for the second time. And "Jamais deux sans trois"! Madame Devia had a standing ovation after two encores (Il sogno di Doretta, La Rondine,Puccini, then in French, a real present for us, French audience, 'Adieu notre petite table' Massenet-Manon). No matters what she sings it is impossible to see her take a breath and of course you cannot hear her breathe like some other singers do. She has the longest deep breath and legato with wonderful tops and last dying notes which seem to vanish after the last orchestral echo. She is amazing because she is in perfect control of her vibrato and her voice does not seem to alter with time. She has gained a deeper range, I could listen to her for ever, her singing looks effortless,gracious, very moving and elegant (her face is never contorted) . Among Italian ouvertures, the first one being 'L'Italienne à Alger'was like opening a bottle of champagne to welcome us ! The prelude of I Lombardi Act III was a moment of pure delight with the violin solo (The first violin is a young new comer, Kristi Gjezi, you can see what he is like! Of course the enthousiasm grew more and more what with the orchestra and Madama Devia. She gave a stunning first part with a spendid Casta Diva ( a pity I cannot attend her Norma in Bologna, but I will see her Imogene soon at the Liceù) and an even more amazing second part with passion and delight, I could feel she was enjoying the evening and I liked to see her discuss the encores (I suppose) with the conductor Alain Guingal who also was there last Bel canto Festival (this is how I refer to this event, perhaps it will give the Opera staff the idea of doing a proper Bel Canto festival in 2013 before Christmas?, if they happen to read me that is!!!) My heart went to the violin concerto ( it is not quite a concerto but it could have been turned into a real concerto. I have not had the chance to attend a live performance of I Lombardi. It was programmed in Marseille in 2001, but I was still very busy working.) If I was thrilled by her Casta Diva, her Anna Bolena,Piangete voi? Al dolce guidami Coppia iniqua, (always very moving the way her voice soars and flies over the orchestra with all the feelings in the words and few gestures to express her revenge, she does not 'shout' it is all in cold blood and even more intense), then E strano.. Sempre libera with Alfredo's voice in the background from a young and promising tenor we get to know here,Stanislas de Barbeyrac, what really made me dream about her even more is the way she sang the Romanze di Medora,(Verdi, ll Corsaro). she took me far away, over the Sea in Southern territories, this tune has Arabo Andalus tinges in the beat of the harp and the sway of the voice with ethereal endings, or is it never ending? Luckily it is on youtube and I can recall all the subtle ways of hers when she sings this sweet lamento: (Many thanks to Pacorona 1978 there are beautiful Maria Devia arias there)

Because it was a special night we were not barred from Madame Devia 's dressing -room and I managed to thank her for all the joys her art is giving me.

I discovered her in La Scala Collection, and now in my retirement I feel so young to be able to cheer this artist who gives me also plenty of energy and hope through her musicality and marvellous presence. MARIELLA DEVIA, Soprano -I- GIOACCHINO ROSSINI • Italiana in Algeri, Ouverture VINCENZO BELLINI • I Capuleti e i Montecchi, « Eccomi ... O quante volte » • Norma, Ouverture • Norma, « Casta diva » GAETANO DONIZETTI • Anna Bolena, scène finale « Piangete voi ... Al dolce guidami ... Coppia iniqua » -II- GIUSEPPE VERDI • Nabucco, Ouverture • Il Corsaro, Romanza di Medora « Non son le tetre immagini » • I Lombardi alla prima crociata, Giselda « Non fu sogno » • I Lombardi alla prima crociata, Act 3 violin solo • La Traviata, « E strano ... Ah forse lui ... Sempre libera » Bis : Puccini La Rondine : Che il bel sogno di Doretta Massenet Manon : Allons il le faut ... Adieu notre petite table Orchestre philharmonique de Marseille ALAIN GUINGAL