“Há a sofisticação do canto, o controle da respiração e da emissão, os pianíssimos – mas, acima de tudo, o uso dramático que Aylin Pérez faz desses recursos, oferecendo tantas nuances que nos fazem querer compreender mais sobre uma personagem cujas motivações nem sempre estão demarcadas de forma clara.”
[There is the sophistication of her singing, her control of breath and vocal projection, the pianissimos – but, above all, the dramatic use Aylin Pérez makes of these techniques, offering so many nuances that make us want to understand more about a character whose motivations are not always clearly defined.]
Concerto
“Ailyn Pérez gave a masterful performance of Elisabetta di Valois. Her beautiful voice, with its perfect pitch and excellent projection, offered the audience lovely phrasing and some impeccable pianissimos. With the graceful bearing of a queen (as seen in some scenes and, above all, in the confrontation with Eboli in the fourth act: Pietà! perdon!…), the artist skillfully expressed the character’s suffering. All the main musical passages in which the soprano participated were very well performed, such as the aria from the second act, Non pianger, mia compagna (another one unnecessarily reduced by half), the duets with Carlo, already mentioned, and the duet with Filippo, Ben lo sapete, un dì promessa, which, with the arrival of Eboli and Rodrigo, evolves into the quartet Ah! si maledetto sospetto fatale. Verdi reserved Elisabetta’s great solo, Tu che le vanità, for the final act.”
Notas Musicais
“Como Elisabetta di Valois, o soprano lírico Ailyn Pérez apresentou voz sonora, harmoniosa e apoiada em técnica desenvolvida dentro de uma sólida escola de canto.
Sua participação nos duetos e trios transcorreu de maneira satisfatória, assim como sua grande ária, “Tu che la vanità conoscesti del mondo”, um dos momentos de maior concentração lírica da personagem. O soprano conduziu a passagem com musicalidade, chegando ao delicadíssimo ppp que encerra a ária com adequado domínio vocal.”
[As Elisabetta di Valois, the lyric soprano Ailyn Pérez displayed a resonant, harmonious voice, underpinned by technique honed within a solid school of singing.
Her performances in the duets and trios were satisfactory, as was her grand aria, ‘Tu che la vanità conoscesti del mondo’, one of the character’s moments of greatest lyrical intensity. The soprano delivered the passage with musicality, reaching the extremely delicate ppp that concludes the aria with appropriate vocal control.]
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