In expectation of Easter, by tradition the hall of the Sofia Opera and Ballet was filled in with audience, expecting their experience with Giuseppe Verdi’s Requiem. A tradition which turns the opera theatre into a temple, when audience and stage become one in an unforgettable divine service. Something which happened on 25 April this year, when the soloists Vittoria Yeo, Nadia Krasteva, Francesco Anile, Riccardo Zanellato, together with the chorus and the orchestra of the Sofia Opera, conducted by Pavel Klinichev, were leading us in the witnessing of emotions shaking the soul.
I would like to remind that Giuseppe Verdi created his Requiem in a time of strong mental disorders, disappointments from life and events on the political stage. The spirit was struck down, but not broken, this suggests its majestic creation, developed in seven movements. An exceptional dramaturgy, constructed by conflicts and contrast states.
Not by chance every year the Sofia Opera offers to its audience a different cast of soloists, which gives a new nuance in the performance of Verdi’s masterpiece.
This year this was the young soprano Vittoria Yeo, who triumphed with the Requiem with the Chicago Philharmonic under the baton of Riccardo Muti. Nadia Krasteva, one of the most successful mezzo-sopranos of our days, was a real joy to be with us on this holy day. She input her rich colours in the performance. The tenor was Francesco Anile, who for the critique is a “singer with star magic in the voice”. The bass Riccardo Zanellato conquers the press in Verdi’s Requiem as “a soft, but riveting the senses voice...”.
The chorus master Violeta Dimitrova like always had prepared excellently the chorus, which many times has proved its exceptional qualities not only in Bulgaria, but also abroad.
Ravel Klinichev, the conductor of the Bolshoi Theatre, directed dynamically the whole ensemble, soloists, chorus and orchestra in the creation of an imposing sound cathedral.
This was a moving holiday in the eve of Easter, applauded for a long time by the audience which didn’t want to leave the temple of the opera.
Dr. Magdalena MANOLOVA