Reviews

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Adrianne a “blisteringly beautiful Senta” in the Royal Opera House Covent Garden production of Der fliegende Holländer

Reviews

“As Senta, Adrianne Pieczonka is simply magnificent, with a warm and radiant voice that melts in its lower register and cuts higher up, and the ability to inhabit the role to heartbreaking effect.” (Independent, 10 February 2015)

“As the hapless Senta, a girl driven by a desire to escape, Canadian soprano Adrianne Pieczonka was outstanding, matching Terfel in her physical quietude, never missing a note, strange, impetuous, mad.” (Observer – Fiona Maddocks, 8 February 2015)

“…there is Adrianne Pieczonka’s wonderfully ardent Senta.” (London Times, 9 February 2015)

“The highest accolades, however, go to Adrianne Pieczonka as Senta. She has a tough act to follow in the form of Anja Kampe who assumed the role in 2009 and 2011, but Pieczonka’s voice is vibrant, stirring and spiritual. She also maintains evenness of tone throughout, however, and lines are always followed through to good effect. Her performance of the ballad almost makes time stand still, and the expressions on the faces of the female chorus as they listen attentively surely mirror those of the audience. Her sensitive acting also makes the Dutchman’s final decision seem less ridiculous and arbitrary than normal.” (MusicOMH, 7 February 2015)

“Adrianne Pieczonka’s Senta is such a tour de force: the Canadian soprano sounds gorgeously vibrant while still capturing the character’s vulnerability” (The Guardian – Erica Jeal, 6 February 2015)

“Canadian soprano Adrianne Pieczonka [is] a blisteringly beautiful Senta, who pairs a disarming purity and sweetness of tone with tremendous vocal power. There’s a ferocity, an intention to her delivery that makes sense of Albery’s rather oblique production. Here is a woman possessed by an unnatural obsession, a woman set apart from the grey world around her by the blazing belief in her destiny. The candle she carries throughout her ballad mirrors the searchlight that strafes the audience throughout the overture, a beacon leading her to her only possible fate… Pieczonka gives little sign of strain, discovering new power and heft for a final scene that chills with its conviction. This Senta might not throw herself into the water at the end, but for the first time that doesn’t seem to matter. As she drops to the floor, clutching the miniature ship to her belly, we know that this curse, this death, is one of the mind, just as her passions were too.” (The Arts Desk, 6 February 2015)

“Completing a fine cast was his Canadian compatriot, Adrianne Pieczonka, as Senta. She was not as blazingly fearless as some I have heard but her restrained singing seemed to fit perfectly with the production and it was an intense interpretation and she seemed so utterly possessed by the music and the character that moments such as when she was being manhandled by the Dutchman’s crew made for uncomfortable viewing.” (Seen & Heard, 8 February 2015)

“In the tricky and taxing role of Senta Adrianne Pieczonka’s silvery soprano has developed more warmth at its core, and it now carries more emotional depth. How wonderful to hear the ‘Ballad’ without snatched high notes – and instead to hear the phrases so sensitively shaped and coloured. As an actress she is also affecting with her very expressive eyes. Some may prefer Senta to be more haunted, visionary or even fanatical but this is a refreshingly restrained interpretation.” (Classical Source, 5 February 2015)

“Equally impressive is Canadian soprano Adrianne Pieczonka’s Senta. She sings this tiring, awkwardly written role impeccably, and the character’s obsession with the legendary seafarer who suddenly turns up to marry her is palpably real; this is perhaps the best performance this artist has given at the Royal Opera House.” (The Stage, 6 February 2015)

“Adrianne Pieczonka was a free-voiced Senta, with the warmth and strength of tone necessary to soar over the orchestra.” (Bachtrack, 6 February 2015)