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Released after a first recital of French melodies in which Thierry Guyenne had highlighted "the vocal opulence and the dramatic committment of this French soprano", this program dedicated entirely to Verdi represents an even riskier strategy for Norah Amsellem. A confirmed talent is indeed necessary to navigate with ease in a repertoire which is close to opera but is only ostensibly easy and alluring, hiding in fact a good deal of difficulties. For each of these pages composed over the years, sometimes responding to a commission, often under the guise of a circumstantial hommage, it is necessary to find the most appropriate tone: not excessively dramatizing what should be a mere suggestion; coloring with subtlety what risks to become monotonous in the course of an hour or more. This is a difficult art, even more difficult than playing the standards with the support of an orchestra. Let it be recognized that Norah Amsellem gets through these obstacles pretty well, bringing to these melodies her already rich experience. One notices this in particular in the works that have a particular picturesque quality, where the tone is the most straightforward. Stornello, Lo spazzacamino or the Brindisi are interpreted vivaciously, with the necessary panache and gusto. The soprano, who is accompanied with great care and accuracy by Lydia Jardon, knows how to alternate emotion with lustre and short flights of lyricism with atmospheric evocations. In a melody such as Perduta ho la pace she displays a whole array of nuances, conserving the elegance that tempers this well-mannered passion. A beautiful work on the whole, this well-composed recital, which also has a very balanced technical approach, suffices in itself to justify Norah Amsellem’s ambitions.
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