Ultime news

La seducente ironia del soprano

The revelation, and it is said in a strict sense, is instead Madelyn Monti … Known as a soprano of melodrama, here shows a series of qualities that almost no soprano, however sublime, has: «irony» is a synthetic term but vague to define. Let us premise that a chamber concert is not a last resort for her: she has an intense voice, beautiful timbre, vibrant and homogeneous along the range … It is a lesson. Monti does not resort to any “theatrical” make-up to overcome vocal difficulties, sings impeccably and with seductive timbres; but she always inserts something additional, an accent that is overly emphatic or too sentimental, a perfect wink while expressing a murky or fiery pathos, to underline “detachment”, hers as interpreter, ours of historical necessity, from and of the musical-poetic context. Needless to say, in all three languages ​​she boasts the diction of a high-society lady. As if Edith Sitwell reincarnated?
Paolo Isotta, Corriere della Sera

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In concert with Pavarotti

Monti, a splendid voice, sang ‘Vissi d’arte’ from Tosca, and a thoughtful, convincing ‘Ritorna vincitor’ from Aida, but the audience embraced her most ardently after a song from Giuditta, Lehar’s final operetta
and a work that essentially brought to a close the operetta form. Among the duets was a wonderful rarity from Mascagni’s Amico Fritz. Most amazing of all for the unexpected freshness of it, was Pavarotti’s and Monti’s performance of the final scene from La Boheme Act I.
Kenneth La Fave, The Arizona Republic

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Countess Almaviva – Marriage of Figaro

“…a smooth, dark timbre and a touching characterization.”
Allan Kozinn, New York Times

“Madelyn Monti’s Countess Almaviva contrasts nicely with Susanna. Monti sings with reserved opulence, the seamless silk of her voice conveys her suffering, her diginity. It’s an exquisite performance.”
Steve Barnes, Post Star, New York

“Madelyn Monti was fine as the Countess, getting the most applause of the evening for an exquisitely phrased and poignant “Porgi amor” at the opening of Act II.
Ron Emery, Albany Times Union

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“And then it‘s still the case with the magnificent, charming and hitherto unknown singer in France, the American Madelyn Monti… the beautiful Bostonian who played Floria Tosca on all the big stages is a deliciously dramatic soprano, and not only in Vissi d’Arte, which she gives as a tragic remorse, but in all the components of this woman in turn jealous and frivolous, passionate and ultimately, a desperate rebel. Yes the texture is immense (but not powerful in the bass and the colour is magical), the vocal melisma, the high tones, the sensual phrasing complete to make it divissima.”
Michel Huvet

“In her debut as Tosca, Madelyn Monti has shown that she understood the character, faced by a soprano with strong vocality. Monti possesses good technique and good intensity, homogeneous in extension and in the messe di voce.”
Roberto Del Nista, L’Opera Magazine

“Madelyn Monti was a protagonist of shining femininity who unreservedly committed her soprano voice with a pleasant dark tone to exploit a greater characterization of the role.”
Eva Pleus, L’Opera Magazine

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Santuzza – Cavalleria Rusticana

… a delicate but at the same time incisive Madelyn Monti has created a sincere and truthful Santuzza.
Loris Castrista, L’Opera Magazine

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Alice Ford – Falstaff

“If masculine is Nucci, extreme feminine in the splendor of her voice is Madelyn Monti …”
Francesco Maria Colombo, Avvenire

“Seductive debut for the spicy Alice by Madelyn Monti who perfectly guided the delicate quartet of the wives …”
Angelo Foletto, La Repubblica

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Musetta – La Boheme

“the one who easily takes up this challenge, is Madelyn Renée: mature beauty, elegant silhouette, her Musetta, whose singing is fruity and at first insolent, later adopts Mimi’s humility; her «conversion», so right, is deeply touching.”
Tribune de Génève

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Rose Maurrant – Street Scene

“…the convincing and romantic Rose Maurrant by Madelyn Monti…”
Carmelo Di Gennaro, Il Sole 24 Ore

“…however we can not exempt ourselves from praising the excellent evidence offered by the fascinating Madelyn Monti, melancholically inspired in giving life, with expressive persuasiveness, to the protagonist character of Rose Maurrant…”
Alessandro Mormile, L’Opera Magazine

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Giulietta – Hoffmanns Erzählungen

“Madelyn Monti portrays Giulietta with crafty seduction.”
Marlis Fichtner, Welt am Sonntag

“As courtesan, Giulietta, Madelyn Monti makes flattering cantilenas and is seductive to look at.”
Hans Hubert Schieffer, Rheinische Post

“More focused on the cool principle of seduction, the Giulietta of Madelyn Monti, whose vocals were mixed with some tones of sensual temptation, provided the highlights of the somewhat confusing game of identity and effigy in the background of the scene.”
Hans G. Schürmann, Bonner Anzeigenblatt

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