Absolutely breathtaking Yiorgo Ioannou, his unstoppable technique promising him a radiant and boosted Rossinian future
- Toute la culture
Represented by
Representation
BACK TO ARTISTS OVERVIEW
David Fernández Caravaca, Conductor
Iosif Ion Prunner, Conductor
Marco Alibrando, Conductor
Paolo Vettori, Stage Director
Marco Alibrando, Conductor
Paolo Vettori, Stage Director
debut at Teatro Regio di Torino with title role of Smirnov/The Bear in a new production of Walton’s The Bear, debut with Carmina Burana with George Enescu Philharmonic Choir at Athenaeum Summer Festival, debut with Opera Oviedo, Faure’s Requiem with the Castilla y Leon Symphony Orchestra, debut at Musikverein Wien with a gala-concert, Concerts with the Chamber Orchestra of the Opéra National de Paris in all over China tour, Mercurio Il Nerone / L'Incoronazione di Poppea at the Athénée Théâtre Louis-Jouvet and on tour at the Opéra de Dijon with the Poème Harmonique, Enrico in Haydn’s Isola Disabitata at the Opéra de Dijon, Nazarene Salome at the Opéra Bastille with Simone Young, Gregorio Roméo et Juliette, Germano Rossini's La Scala di seta at the Athénée Théâtre Louis-Jouvet, gala concerts in Opera Garnier, Opera Bastille, at the Lincoln Center in New York with the pianist Cyprien Katsaris.
Faust - Valentine - Avant de quitter ces lieux
Faust - Valentine - Avant de quitter ces lieux
Tannhäuser - o du mein holder abendstern
Tannhäuser - o du mein holder abendstern
Rossini: “Quando la fama altera” (La gazzetta)
Rossini: “Quando la fama altera” (La gazzetta)
Billy Budd — “Look! Through the port comes the moonshine astray”
Billy Budd — “Look! Through the port comes the moonshine astray”
He brilliantly interpreted the role of Don Giovanni in the final scene of the opera. The clarity of the voice due to the opening of the vowels favors the sarcastic character of the character, the darkness coming with the projection and the support of the consonants. In addition to the intensity of the vocal expression, there is a very adapted and appreciated scenic ease.
Our preference is for the Cypriot baritone Yiorgo Ioannou, proudly giving the start to the maestro during the finale of Don Giovanni. His musically well-articulated vocal line reinforces his stage ease. He lends a carefree youthfulness to the personality of the dissoluto, while standing up to all his interlocutors with Donjuanesque sarcasm.
Yiorgo Ioannouis a highly refined Don Giovanni, attached to ornament. He explores all the ambiguity of the seducer with a superb patina of timbre, which allows him to give depth to his bouncy phrases. Even in the fear felt by the character in the finale , he maintains a dignity and a distance full of mad charm.
Certainly, the singer who was in all respects most comfortable in his role was Yiorgo Ioannou as the charmingly inconvenient Germano. His voice suited Rossini’s musicality well. His biggest achievement, however, was to understand how much of Rossini’s comedy works: in order to make the comedy happen, the singers must be extremely serious in their struggles. Ioannou made his Germano extremely pathetic. Even in his unflattering wig he managed to find some joy. It was not without surprise that, at the end of the night, he got the most welcoming—and last—curtain call
The Cypriot baritone masters comic volubility to perfection, the art of delivering notes in bursts with appreciable clarity, clarity of delivery and a sense of comedy essential to this role of Zanni (the stupid valet of the Commedia dell'Arte)
