Elena Vassilieva - dramatic soprano - in the modern Music specialized
march 2006
Répertoire No. 161
october 2002
november 1998
november 1998
Westfalen-Blatt
november 1998
Rhein-Neckar-Zeitung
october 1996
Frankfurter Allgemeine
august 1995
Rhein-Neckar-Zeitung
may 1995
Frankfurter Allgemeine Zeitung
Mars 2006
Mars 2006
Key works for connoisseurs: P.L. Aimard gets carte blanche at the Römerbad music festival
The way Pierre-Laurent Aimard gets to grips with György Kurtag's Song Cycle op. 7 setting of Peter Bornemisza's apocryphal proverbs, this work could be viewed as a cycle for magnificently sounding and challenging virtuoso solo piano with partner. However, you need a soprano like Elena Vassilieva in order to vocally charge the extraordinary interval leaps and the breadth of the different kinds of expression, which range from a whisper to a shout. She seems to know no technical limits, and with glowing intensity she conjures up the fear of transience, death and the awful hope that human beings are like flowers. Everyone holds their breath. It is the climax of this spring's Römerbad music festival.
The way Pierre-Laurent Aimard gets to grips with György Kurtag's Song Cycle op. 7 setting of Peter Bornemisza's apocryphal proverbs, this work could be viewed as a cycle for magnificently sounding and challenging virtuoso solo piano with partner. However, you need a soprano like Elena Vassilieva in order to vocally charge the extraordinary interval leaps and the breadth of the different kinds of expression, which range from a whisper to a shout. She seems to know no technical limits, and with glowing intensity she conjures up the fear of transience, death and the awful hope that human beings are like flowers. Everyone holds their breath. It is the climax of this spring's Römerbad music festival.