Willard Carter, revelation of the Menuhin Festival Masterclass 2021, soloist of the academy’s closing concert with the festival orchestra.
I attended the Gstaad Menuhin Festival in the summer of 2019, and because I loved it so much I returned in 2021. The high level of playing and everyone’s enjoyment in making music was stronger than anywhere else I’d been. There is such a sense of community among the students and teachers. And there wasn’t a single person that didn’t contribute to the festival’s positive energy. The teachers’ enthusiasm stays with me to this day, as well as what I learnt on a personal level by interacting with other students. You get to know each other really well, which is important for chamber music.
In 2021, separately from the chamber festival, I was lucky enough to play Elgar’s Cello Concerto with the orchestra, which was led by young conductors. Sometimes I would meet up with them to go through my piece. They all had such strong ideas about the work, and so did I. I learnt a lot from those discussions. It was also invaluable to be given so much time to rehearse with the orchestra, which almost never happens for professional soloists. We worked in depth, and I created a relationship with everyone. Playing the concerto with that orchestra was one of the best experiences of my life“
…Sa Pamina est une Pretty Yende fort convaincante,
au timbre plus corsé que celui des sopranos
habituellement distribués dans le rôle,
mais capable de beaux allégements « Tamino mein ! »
et délivrant un « Ach, ich fühl’s » empreint d’émotion… [ Première Loge opéra | Stéphane Lelièvre | 19 sept. 2022 ]
First Prize of the 2nd Alberto Lysy International Violin Competition 2022
and First Prize of the Carl Nielsen International Competition 2022
At 17, this young Ukrainian violinist is probably
the most exciting and phenomenal
discovery of today's world of the violin.
Amazing virtuosity and confidence, refined style,
musical maturity… he has it all! [ Caroline murat | 10.10.2022 ]
After his performance there was no doubt
that he would win. It was unbelievable.
He is only 17 years old and can play the violin
because he plays full of emotions.
He is the incarnation of Alberto Lysy [ President Simionescu, who was once a student of Lysy | 07.10.2022 ]
Great Count Loris Ipanov in Fedora at the Teatro alla Scala! (oct-nov 2022)
…I found tenor Roberto Alagna in great shape: he delivered his famous aria “Amor ti vieta” with passion… [ Silvia Luraghi | theoperacritic.com | 15.10.2022 ]
Le ténor siciliano-français a démontré que le talent, la technique, le professionnalisme et l’honnêteté interprétative sont la condition sine qua non permettant de réaliser une carrière magnifique et durable. [ Antonio Samson | premiereloge-opera.com | 23.10.2022 ]
…Alagna est royal dans ce répertoire… On admire bien évidemment la prononciation – tout autant que l’engagement et la justesse des paroles émises… [ Paul Fourier | toutelaculture.com | 19.10.2022 ]
…Alagna se démarque par la fraîcheur vocale et un volume imposant qui ne diminue point…
Sur le plan technique, il affirme ses qualités avec une émission maîtrisée et sans excès de vibrato, soutenue par un souffle souple et étendu… [ Vojin Jaglicic | olyrix.com | 16.10.2022 ]
Sierra captivates as Violetta in Met’s “Traviata”! (november 2022)
…Sierra’s fans, who turned out in force for this performance, undoubtedly little of this mattered. They were there to experience the glamour and vulnerability that the soprano brings to Violetta, to say nothing of her superb artistry and lustrous voice. If their rush to applaud every moment of hers brought the dramatical and musical flow to a halt at times, that’s the price to be paid. As if to compensate Sierra has mastered freeze-framing.…
…Whether in the breathless, fast-paced “Sempre libre,” or spinning out seamless legato lines in Violetta’s farewell to life, “Addio, del passato,” Sierra combined beauty of tone with emotion to create an exceptionally compelling and real-life Violetta. The soprano’s phrasing was particularly effective. Watching Sierra’s Violetta’s reluctant acquiescence to Luca Salsi’s Giorgio Germont’s implacable demand that she sacrifice her happiness for the sake of his family was heartbreaking…
[Artur Ruciński | metopera.org | 26.10.2022]