giovedì 23 aprile 2015

MAX JOTA – LES CONTES D’HOFFMANN “after all c’est la methode”!


MAX JOTA – LES CONTES D’HOFFMANN  “after all c’est la methode”!

"Brazilian Max Jota, a Latin tenor to the core, was a charismatic Hoffmann."
Matthew Rye ( DISTANT SOUNDS)

“The title character has been portrayed by  Max Jota (at his German debut) with tenor fire and vocal elegance (…) theatrically energetic”
Christoph Zimmermann (Online Merker)

“The piece had in  Max Jota (Hoffmann) and Eva Maria Günschmann (Muse)  the ideal  leading characters
Armin Kaumanns (RPonline)

"The most beautiful voice of international opera.  Max Jota, born in Brazil but now Italian by adoption, is one of the most promising tenors on the world-wide operatic scene, ..a voice with a wide range of nuances, extremely talented and gifted with an extraordinary interpretative skill."
Michele Bulzomì ( LA NAZIONE )

"...an opera such as Les Contes, the vocal writing is quite demanding and certainly not easy, particularly for the tenor.  Yet, Max Jota (Hoffmann) exquisitely succeeds in his task: the singer's voice, characterized by a pleasant timbre, maintains itself homogeneous in range and intensity, and can be considered excellent in relation to the global contest."
Roberto Del Nista ( L'OPERA magazine)

"The protagonist was Max Jota(…). Here he was squarely in his element and portrayed an excellent Hoffmann from every point of view. He exquisitely handled the many lyric parts requiring a nuanced, rich and supple middle register (for example “Ah! vivre deux n’avoir”) as well as the even more numerous moments that abruptly jolt towards the top, with very uncomfortable leaps incessantly hammering on the passaggio, and that create a vocal duality nearly impossible to dominate(…). The classic example is the Kleinzac aria: from such a thorny tessitura that in a way represents a large part of the French musical tradition, Jota emerged with the firmness of his middle register well welded to a secure and ringing top, gifted with overtones and squillo. In a similar way he conferred warmth to the wide expansions of the duet with Antonia, and dominated with silvery tone the swift and brisk ascents to the top, all the way to a roof-peeling high D flat, or the insouciant B flat crowning the very jagged writing of the couplets bachiques. His musicianship allowed him to dominate the many passages where one’s sense of pitch is severely put to the test. He also proved to be a consummate actor (…).  Such a refined delineation is possible only when the singer is confident with his technique, as Max Jota certainly is. After all, “c’est la methode.”
Nicola Lischi ( OPERA BRITANNIA )

“The young and talented Brazilian tenor Max Jota as Hoffmann showed a remarkable interpretative temperament”

Mauro Guidi ( TEATRO.ORG. )






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