Vivica Genaux, mezzo-soprano: Other Trouser Roles

VIVICA GENAUX, mezzo-soprano

VIVICA GENAUX
mezzo-soprano

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What the critics said...
Of her other TROUSER ROLES

Of her Sesto in Handel's Giulio Cesare:

- at San Diego Opera:

Genaux would be impossible to fault. It is safe to say, she energized the entire production every time she came on stage. Musically this artist is amazing. Her beautiful voice is even from one end of the compass to the other, and she does not aspirate à la Cecilia Bartoli. Genaux never sounds like a machine gun in those wildly rapid vocal passages. And Genaux passionately embodies her character – which is astounding in the case of Sextus, who, in any synopsis of the story, seems like so much irrelevant dead weight. Forget that! Genaux makes this two-dimensional, fiery, vengeful youth into a real human being.
- David Gregson, sandiego.com, April 16, 2006

In terms of pathos, nothing surpassed the mother-and-son farewell scene by mezzo-soprano Suzanna Guzmán (as the widowed Cornelia) and mezzo-soprano Vivica Genaux (as Sextus). Their duet ‘Son nata a lagrimar’ was an emotional high point, radiating intensity.
- Valerie Scher, San Diego Union-Tribune, April 17, 2006

With Sextus, the American mezzo-soprano Vivica Genaux adds a role to her repertoire which fits her like a glove. With her androgynous looks, her lovely face, her precise singing with its own personal timbre, as well as her committed acting, she makes her character totally believable. In addition, her physique is perfect for the elegant costumes of Michael Stennett, which she wears with the ease of high-style fashion model.”
- Brigitte Cormier, Forum-Opéra, April 18, 2006

Standout musical scenes include the lovely first-act duet "Son nata a lagrimar" sung in beautiful harmony by Genaux and Guzman.
- Pam Kragen, North County Times, April 19, 2006

Acclaimed worldwide for such “trouser roles,” and well known to SDO audiences, mezzo soprano Vivica Genaux brilliantly sings her first Sextus, a young man bent on defending his widowed mother, Cornelia (mezzo soprano Suzanna Guzman). Scenes between Genaux and Guzman are rife with vocal beauty and touching filial/maternal devotion.
- Charlene Baldridge, La Jolla Village News, April 20, 2006

Cornelia and Sesto, the tragic figures in this story, were deftly portrayed by mezzo sopranos Suzanna Guzmán and Vivica Genaux. Genaux, who has incredibly precise coloratura, sang the arias given to Cornelia's son, Sesto, with dazzling agility.”
- Maria Nockin, musicandvision.com, May 7, 2006

Of her Bradamante in Handel's Alcina:

- at the Opéra National de Paris – Palais Garnier

“Vivica Genaux had confessed to Forum Opera that she adores both travesty roles and high heels. Thus she happily takes on the ambiguity of Bradamante, the loving woman disguised as a knight. Her virtuosity is impressive above all. Her ‘Vorrei vendicarmi’ could be included in the recorded homage she made to Farinelli. Her velvety timbre couldn’t possibly be confused with that of her lover, the inconstant Ruggiero, sung by Vesselina Kasarova.”
- Christoph Rizoud, Forum Opera, May 2004

“The pyrotechnics required of Bradamante hardly faze Vivica Genaux — ‘Vorrei vendicarmi’ is carried out with dazzling aplomb. She carries off her pants-role with rare elegance.”
- Yutha Tep, Altamusic.com, May 16, 2004

“Vivica Genaux is equal to herself; that’s to say she’s impressive every time one hears her, due to the spectacular quality of her coloratura, performed at a very rapid tempo and with meticulous exactitude. Her high notes never cease to shine and the florid passages are like rays of sunshine.”
- Manon Ardouin, ConcertoNet.com, May 15, 2004

“Luba Orgonasova as Alcina was ably seconded by Vivica Genaux, a seductive Bradamante.”
- David Stevens, International Herald Tribune, May 26, 2004

Of her Orsini in Donizetti's Lucrezia Borgia:

-at Minnesota Opera

“It’s a strong cast all around. Vivica Genaux brings her customary vocal aplomb to the ‘pants role’ of Orsini, making him a more sensitive character than is customary in this part.”
- Michael Anthony, Star-Tribune (Minneapolis, MN), January 26, 2004

“Completing the quartet of outstanding principals are a sweet-voiced Bruce Ford and the always first-rate Vivica Genaux.”
- Rob Hubbard, Pioneer Press (St. Paul, MN), January 26, 2004

- at the Caramoor Festival

“As Orsini, the remarkable mezzo-soprano Vivica Genaux, who scored a triumph last season at Caramoor in Rossini’s ‘Donna del Lago’ was remarkable again. Her voice is vibrant, flexible and interesting. She sings with technical ease and dramatic incisiveness. Her scintillating and sensual performance of the drinking song in the final scene made this music seem a clear model for Eboli’s ‘Song of the Veil’ in Verdi’s Don Carlo.”
- Anthony Tommasini, The New York Times, July 20, 1998

“As in last year’s ‘La Donna del Lago,’ the star of the show was Ms. Genaux, whose dusky, burnished timbre and sparkling vocal flexibility lit up the stage. (It also didn’t hurt that she is lithe and attractive – tight black satin pants, stratospheric heels and a white vest with a plunging neckline – [and she] made the most of those attributes.)”
- Heidi Waleson, The Wall Street Journal, July 27, 1998

Of Handel's Arminio

- at the Concertgebouw - Amsterdam, THE NETHERLANDS

“Before beginning her run of performances as Rosina at the Netherlands Opera [earlier this season], American opera star Vivica Genaux admitted that although she likes to sing Rossini, she was eager to return to the masters of the Baroque period. Saturday, her performance in the title role of Handel’s Arminio demonstrated why. Ms. Genaux possesses an exceptional virtuosity, particularly in the lowest register of her voice, and that, combined with her natural theatricality, makes her an ideal choice for such a role.”
- Hans Visser. Noordhollands Dagblad, December 4, 2000

“The mezzo Vivica Genaux, born in Alaska and already known for her recent appearances as Rosina at the Netherlands Opera, sings the title role of Arminio with great subtlety and ease.”
- Aad van der Ven, Haagsche Courant, December 4, 2000

- Accademia Musicale Chigiana -- Siena, ITALY

“One could not have failed to notice the rising young American mezzo-soprano Vivica Genaux, who comes from Alaska. Her voice has a wonderful dark timbre, is exciting and electrifying with a well-balanced depth of tone. Her pitch is impeccable and she sings superbly in both aria and recitative.”
- Renaud Machart, Le Monde, July 30, 2000

“Particularly notable in this talented cast is the mezzo-soprano Vivica Genaux, who is an Arminio of outstanding musical intelligence and sings with beautiful phrasing and a smooth musical technique.”
- G.M., La Republica, July 28, 2000

“As the protagonist Arminio, Vivica Genaux displayed excellent vocal abilities.”
- Attilio Botarelli, Il Corriere di Siena, July 28, 2000

“She is truly outstanding.”
- Giangiorgio Satragni, La Stampa, July 28, 2000

Of her Arsace in Rossini's Semiramide:

- at the Minnesota Opera

Mezzo Vivica Genaux made an intense Arsace, singing with the agility and richness of tone that recalled the young [Marilyn] Horne
- Michael Anthony, Minneapolis Star Tribune, 4/20/00

“The skyrocketing young mezzo Vivica Genaux sang Arsace, Semiramide’s son. She delivered her several arias with grand effect and was the mainstay of every scene she was in, both dramatically and vocally.”
- John Koopman, Opera, June 2000

“Genaux has a fascinating voice and a bel canto technique that puts the rest of the cast in her shade. Her Act II duet with [Brenda] Harris [as Semiramide] was a lovely blending of voices.”
- Jay Furst, The Post Bulletin (Rochester, MN), April 10, 2000

Of her Hassem in Donizetti's Alahor in Granata:

- in Sevilla, Spain with the Orquesta Ciudad de Granada/Sevilla

“One encountered a sensational singer discovery performing the pants role of Muley Hassem: American mezzo-soprano Vivica Genaux was exceptionally impressive with elegant vocal execution and flexible coloratura technique.”
- Clauspeter Koscielny, Orpheus, January 1999

“Outstanding in the Seville production was young American mezzo Vivica Genaux. Her sweet, soft, creamy tones and precise diction were enchanting. Genaux was most impressive in her Act II duet with soprano Patrizia Pace.”
- José Luis Rubio, Opera News, January 1999

Vivica Genaux’s beautiful timbre and strong expressive spirit made even the most conventional passages exciting.”
- Manuel Guerrero, Diario de Andalucía, October 27, 1998

“The voice of the American Vivica Genaux, in the role of Muley Hassem, is most pleasing in timbre and color particularly in her adept execution of the role’s many vocal ornaments.”
- Ramón María Serrera, ABC Sevilla, October 25, 1998

Of her Malcolm in Rossini's La Donna del Lago:

- at the Caramoor Festival

“Vivica Genaux, a velvet-voiced, Alaska-born mezzo-soprano who sang the trouser role of Malcolm, scored a triumph. This slender singer puts the lie to the notion that operatic voices require bodily heft to have size and carrying power. Her technical command is complete; her phrasing, supple and poignant.”
- Anthony Tommasini, The New York Times, July 23, 1997

“Malcolm’s entrance aria with its knockout cabaletta, ‘O quante lagrime,’ put Vivica Genaux squarely in the spotlight, and the Alaskan mezzo delivered with flawless technical command of the florid runs, a dark Horne-like sparkle to her sound, rhythmic flexibility, depth of feeling and a vivid stage personality.”
- Heidi Waleson, The Wall Street Journal, July 29, 1997

“The biggest delight of the evening was the spectacular Vivica Genaux as Malcolm; the thunderous ovation following ‘Mura felici’ surely must be a ‘star-is-born’ moment. This is singing that is not only brilliant and exciting, but musically expressive as well. La Genaux’s instrument is something special: wine-rich below the staff, fleet in midrange, and thrillingly pingy all the way up to a high-B. In short, this artist has all she needs to be a very big star, indeed.”
- James Jorden, Parterre Box, October 20, 1997

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