Bologna, Reggio Emilia, Ferrara, Modena, Sassuolo (Italy) 1974 – Macerata and Lugo di Romagna (Italy) 1984
“Those headed by Eugenio Gara were right in considering Violetta a natural point to reach in her development and the indisputable proof of both completeness and awareness of artistic maturity. Once having mastered the technical key, Kabaivanska was moving faster and faster into the right direction, with a crescendo, and in full agreement between intent and realization (an unforgettable organ trio).”
GIORGIO GUALERZI
Discoteca HI-FI.
“Violetta’s fioriture have a hectic, neurotic rhythm, which categorically excludes the classical Rossinian – or even Bellinian – polish. Kabaivanska kept such a rhythm without having to lower down the piece, as is the custom, and was almost always able to respect the line of Verdia coloratura. There was, it is true, some occasional flattening of the note, but the explanation might be offered by Verdi himself. Kabaivanska is a singing actress; she acts full time, without a truce, unsparingly. In such a situation, explained Verdi, breath control, and consequently, a perfect intonation, can become a problem. The Act II duet, such as it was sung and acted by Bruson and Kabaivanska, was exemplary.”
RODLOFO CELLETTI
Epoca