- Francesco Cilea (1866 - 1950):
- 1 Cilea: Adriana Lecouvreur: Io son l'umile ancella 03:24
- Giacomo Puccini (1858 - 1924):
- 2 Puccini: Tosca, SC. 69: Vissi d'arte 03:18
- Pietro Mascagni (1863 - 1945):
- 3 Mascagni: Cavalleria rusticana: Voi lo sapete, o mamma 03:29
- Umberto Giordano (1867 - 1948):
- 4 Giordano: Andrea Chénier: La mamma morta 05:11
- Giacomo Puccini:
- 5 Puccini: Manon Lescaut: Sola, perduta, abbandonata 04:57
- Amilcare Ponchielli (1834 - 1886):
- 6 Ponchielli: La Gioconda, Op. 9: Suicidio! 03:58
- Giacomo Puccini:
- 7 Puccini: Suor Angelica, SC. 87: Senza mamma 04:52
- Vincenzo Bellini (1801 - 1835).
- 8 Bellini: Norma: Casta Diva 06:36
- Giuseppe Verdi (1801 - 1835):
- 9 Verdi: Macbeth: Nel dì della vittoria... Vieni t'affretta! 07:26
- 10 Verdi: Macbeth: Una macchia è qui tuttora! 09:57
- 11 Verdi: La forza del destino: Pace, pace mio Dio 05:14
Info for Assoluta
Mit dem Attribut »assoluta« wurde in der Oper des 19. Jahrhundert jene Primadonnen-Rolle hervorgehoben, die über einer nahezu gleichrangigen stand, der Primadonna altra. Der Begriff Primadonna assoluta verselbständigte sich jedoch und meinte bald die Sängerinnen der großen tragischen Heldinnen jener Zeit, deren Stimmen sich durch ein dunkles Timbre auszeichneten, mit einem reichen, starken tiefen Register und Beweglichkeit und Virtuosität in der hohen Lage, wie unter heutigen Sopranen kaum noch anzutreffen. Die französische Mezzosopranistin Béatrice Uria-Monzon ist eine der seltenen Vertreterinnen mit dieser Tessitura. Auf ihrem tatsächlich ersten Solo-Recital legt sie bewegende Porträts großer Assoluta-Rollen der romantischen Oper vor.
Béatrice Uria-Monzon, soprano
Orchestra of Teatro Lirico Giuseppe Verdi di Trieste
Fabrizio Maria Carminati, conductor
Béatrice Uria-Monzon
spent her formative year in her native town of Agen south west of France. With her Baccalauréat safely under her belt and with her love of Art acquired from her father painter, she then studied in Art History while attending at the same time the Bordeaux Conservatoire, followed in 1984 by the Centre National d’Artistes Lyriques (CNIPAL) in Marseille. She took further advanced musical training at the l’École d’Art Lyrique from the Paris National Opera and rapidly made her debuts in the major French opera houses: Lyon, Toulouse, Aix-en-Provence, Bordeaux, Nancy, Marseille in a varied repertoire.
1993 marked a turning point in her career with her debut in the role of Carmen in J-L Gomez’s new production at the Bastille Opera, where her interpretation distanced her straight away from the standard usually performances associated with the character. She then revived the role on both national and international stages: the Teatro Colon in Buenos Aires, Miami Opera, the Teatro Regio in Turin, Arènes in Verona, the Orange Summer Festival, the Vienna Staatsoper, the Metropolitan Opera in New York, Houston Grand Opera, the Bayerische Staatsoper in Munich, Liceu de Barcelone, la Fenice, Palermo…
She then enlarged her French repertoire with her first Dalila in Zurick, then Béatrice in Béatrice and Bénédicte in Bordeaux, Nancy, Tours, Giulietta in Les Contes d’Hoffmann at the Chorégies d’Orange, french summer festival, La Scala de Milan, and the Paris National Opera.
Her French repertoire also encompasses the Massenet heroines: Hérodiade whom she interpreted on the stages of Avignon and Saint-Etienne, Dulcinée (Don Quichotte) at the Paris National Opera, Charlotte (Werther) in Lyon and the Opera Comique de Paris, Chimène in Le Cid, Cléopâtre at Marseille, Anita in La Navarraise at Monaco.
The other roles tackled in the French Opera include the queen Gertrude in Hamlet (Ambroise Thomas) at the Liceu de Barcelone, Julie in Fiesque (Édouard Lalo) at the Montpellier Festival, the Grande – Duchesse de Gérolstein from Offenbach at the Opéra de Lausanne.
Béatrice is also singing most of Berlioz pieces like Didon in The Trojans at the Opéra National du Rhin in Strasburg and at the Deutsch Oper in Berlin, Cassandre in Marseille and Barcelona, Marguerite from The Damnation of Faust in Paris and Munich.
Béatrice quickly tackled the Italian repertoire, having played Leonora in La Favorita and Eboli in Don Carlo at the Gran Opera in Houston, at the Staatsoper in Berlin, in Vienna in both the French and Italian versions.
Amnéris in Aida, Adalgisa at the Paris Opera Garnier, in Monte Carlo and in Lausanne, Sarah in Roberto Deveureux from Donizetti, Santuzza at the French Summer Festival in Orange, Marseille, Zurick and her first Tosca in Avignon, then Berlin at the Staatsoper Oper, Paris Bastille and La Scala de Milan.
She has also addressed the German repertoire first with Orlowsky from Johan Strauss at the Paris National Opera, and Venus in Tannhaüser that she gave four times at the Paris National Opera, at the Teatro dell Opera di Roma, at the Gran Teatro del Liceu in Barcelona and the Opera National du Rhin in Strasburg. She gave as well Ghita in Der Zwerg from Zemlinsky at the Paris National Opera. One should also add Judith in the Beard Blue Castle from Bartok at the Paris National Opera. A few weeks back for her debut in Lady Macbeth in Brussels, the press recognized unanimously her remarkable performance.
Coming soon in the Opera Bastille in Paris she will be singing La contessa de Sérisy in Trompe la mort from Luca Francesconi, a contemporary first worldwide creation.
During her career, she has worked with conductors such as S. Osawa, K. Nagano, A. Jordan, G. Prêtre, M. Plasson, A. Lombard, M-W. Chung, J-C Casadesus, G. Bertini, J. Conlon, L. Slatkin, N. Santi, M. Janowski, A. Lombard, B. De Billy, Daniel Oren, Evelino Pido, Paolo Carignani , Alain Altinogliu.
Amongst the list of directors appear R. Carsen, H. Kupfer, J-L Gomez, E. Sagi, L.Ronconi, G. Deflo, La Fura dels Baus, P. Caurier et M. Leiser, K. Warnert, P.Konwitschny…C.Bieito…N. Dufflot, J.C.Auvray, C.Roubeau...
Béatrice Uria-Monzon can often be found performing in concerts with Orchestra. Her credits include Les Nuits d’été and La mort de Cléopâtre from Berlioz, Shéhérazade from Ravel, Le Poème de l’Amour et de la Mer from Chausson, the Wesendonk Lieder from Wagner… With piano, Ravel, Duparc and Fauré, the Spanish repertoire of Granados, De Falla, Montsalvatge and Mompou and in Oratorio : the Requiem of Verdi, Fauré and the Stabat Maters of Rossini and Pergolesi…
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