Valentine's Day Concert:
Mezzo-soprano Susanna Poretsky — an inimitable combination of diva and chanteuse — will magically bring to life Russia’s greatest female entertainers of the past, performing their signature love songs with pianist Genadi Zagor and violinist Rafael Javadov, collaborators par excellence. Don’t miss this romantic, nostalgic and altogether delightful one-woman show, featuring three Russian Chamber Art Society favorites.
Friday, December 11, 2020, at 7:30 p.m.
Tchaikovsky 180th Celebration Continues
Romances and Arias by Tchaikovsky and Rachmaninoff
Save the date for the finale of the Russian Chamber Art Society’s celebration of Tchaikovsky’s 180th anniversary year. In a festive program of romances and arias by Tchaikovsky and his younger colleague Rachmaninoff — two composers who defined Russian romanticism — RCAS founder and Artistic Director Vera Danchenko-Stern and pianist, Michael Sheppard, will accompany American soprano Shelley Jackson, winner of second prize at the 2017 Maria Callas Grand Prix, and much-admired Finnish American baritone Timothy Mix.
Enjoy the reviews of the "Mighty Five and Friends" concert:
“The delight and excitement that await music lovers at the Russian Chamber Art Society’s concerts” – Leslie Weisman
Leslie Weisman wrote in DC Metro Theater Arts about RCAS’s April 12 season finale, “The Mighty Five and Friends”:
The first [of six songs by Rimsky-Korsakov], “Not the Wind Blowing from the Height,” was sung by [soprano Zhanna] Alkhazova with a sweet purity and clarity, a skillfully controlled vibrato, and an exquisite ease that made the high notes, from pianissimo to mezzo forte, seem effortless. The last of these, the brief but affectingly melancholy “On Georgian Hills,” [mezzo-soprano Anastasiia] Sidorova infused with emotional urgency and youthful sadness.
Alkhazova’s masterful “Marfa’s Aria” from Mussorgsky’s The Tsar’s Bride was distinguished by a complementarity of rich, round, warm sounds and fresh, light, clear, graceful ones, topped off by a ringing, thrillingly brilliant high note. Sidorova’s “Lyubasha’s Aria” from the same opera, her carefully modulated voice and alternately flashing and stricken eyes drawing an unsparing picture of the young woman’s jealousy and doubt, was equally masterful.
[Bass Grigory] Soloviov excelled in the dark and angry “The False Note” and “Poisoned Are My Songs,” both by Borodin, and was deliciously evil in Mussorgsky’s “Song of the Flea” (famously sung by Mephistopheles). His malevolent “Ha, ha, ha, ha” was both relentlessly declamatory and infectiously humorous in spite of itself, his eyes glittering madly, his mouth opened wide, lips curled to expose a wolf-like set of teeth.
[Pianist Vera] Danchenko-Stern’s keen attentiveness to each phrase, sometimes even down to the syllable, evinced an intimate knowledge not just of the notes she was playing but of the ones the soloists were singing, and the performance, national, and compositional history behind them.
To read the complete review, click here
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