“Soprano Ailyn Pérez, returning to HGO after her compelling Madama Butterfly last spring, brought intensity and delicacy of her own to Leonora.
Much of Leonora’s music has an air of melancholy, even in the midst of her love for Manrico, and as Pérez’s voice welled up, darked-hued and expansive, Verdi’s melodies exuded foreboding. She made smaller moments count, too: When Leonore’s recalled once hearing Manrico’s song include a name—“mio nome” my name—she gave the words a shiver of excitement.
Especially in Leonora’s Act 4 aria, “D’amor sull’ ali rosee,” the gossamer delicacy Pérez gave the highest phrases lent Leonora an air of otherworldliness—fittingly enough for a heroine prepared to sacrifice her life.
But long before the story reached that point, Pérez also commanded the vocal agility to fill the joyous climax of Leonora’s Act 1 aria with excitement. And like Spyres, she sometimes enhanced the music’s expression and tenderness through extra vocal ornaments, including arresting flights above the staff.”
“In Houston Grand Opera’s new production of Verdi’s Il Trovatore, HGO has assembled a stellar cast of principal singers … All were in fine voice Friday doing full justice to Verdi’s remarkable score — with soprano Pérez most often getting sustained applause …”
“Soprano Ailyn Pérez, a statuesque but emotionally charged Leonora, especially captured the princess’ moments of ardor and agony, with, in turn, melting high notes and powerfully raw low notes.”
“Ailyn Pérez made an admirable role debut as Leonora, showcasing both technical precision and emotional depth. Her portrayal highlighted Leonora’s evolving passions, with each aria offering a distinct emotional journey. In “Di tale amor” (Act II), Pérez effortlessly floated through high notes, sending her overwhelming love for Manrico soaring heavenward. In contrast, during “D’Amor sull’ali rosee” (Act IV), each note seemed to escape like a trembling sigh, filled with despair and an overwhelming love that felt as if it were breaking with every breath.”
Parterre