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reviews
"Jaho is both commanding and vulnerable as the convalescent heroine, and her dark, veiled sound creates a sense of time-warp: we’re not revisiting the era of Amelita Galli-Curci, but we’re definitely going in that direction. Jaho’s gestures and attitudes have an expressive grace for which Costello’s airy, boyish lyricism makes the ideal foil. And Jaho uses her first big aria to engage us powerfully in her predicament: this woman, you feel, really does know the toughness of life on the wrong side of the tracks...But in Act Two she encounters Paolo Gavanelli as Alfredo’s father Germont: alas. The great scene in which she is persuaded to renounce her love should reflect a subtle emotional journey, but while Jaho breaks the heart – it’s like watching the life being crushed out of a bird.......with Germont gone, Jaho takes over with awe-inspiring authority. I have never seen the physical and psychological reality of untimely death portrayed as terrifyingly – and with singing of such harrowing beauty - as here. When Anna Netrebko returns to this role on January 17, she’ll have a hard act to follow. But in Maurizio Benini she’ll have the same excellent conductor." "The Independent" - La Traviata - 2012 - London - ROH "The Royal Opera House did redeem itself, though. Above all with the new production of Puccini’s Il trittico. Very little in any opera house this year was as touching as Ermonela Jaho’s tragic Sister Angelica, and the whole trilogy found the conductor Antonio Pappano on peerless form." Suor Angelica - 2011 - London - ROH
"In performances of
Puccini’s Il Trittico the first
opera Il Tabarro often delivers
the heaviest emotional punch, but not here.
Suor Angelica knocked
Tabarro right off the stage because of one
person, Ermonela Jaho. She was . . . words fail me . . .
sublime . . . ethereal. You have to beg, borrow or steal
to get tickets for this show just to see her
performance. She is so pure as she sings
I desideri — desires are flowers of
the living, and in death the Virgin Mother anticipates
them all — yet after Anna Larsson as her aunt the
princess arrives, cold and elegant in black, and
carrying a lovely fox stole, Ms. Jaho starts to show
real emotion, singing of her son, and asking for news of
him. Her È morto? followed by her
anguished cry, was as lyrical as it was powerful. In
this production the abbess moves Angelica’s hand to sign
the document, smiling obsequiously to the princess,
contaminating the serene purity of the convent with her
desire for the family’s money, and not a care in the
world about Sister Angelica. When Ms Jaho has finished
singing Senza mamma, with her
cries of parlami, amore you know
it’s the end for her. And when the end of the opera
arrives what a huge triumph it is for Antonio Pappano in
the orchestra pit and Ms Jaho on stage. A front drop
comes down and Ms Jaho stands in a spotlight to
thunderous applause."
"Jaho delivers the aria (“Senza mamma”) with bone-shaking intensity finding only a semblance of release in that seraphic final note. How I would love to see her Butterfly." Suor Angelica - 2011 - London - ROH
"Quant à Ermonela Jaho, son grand
lyrique verdien s’épanouit année après année. Cette
Traviata parfaite campe une Luisa finement vue, entre
nostalgie et perdition, et elle la chante avec la voix
du bon Dieu. Quel style ! Quelle élégance et quelle
présence en scène ! Si l’on souligne que l’actrice égale
la chanteuse on aura compris que cette Luisa Miller
doit être vue d’abord pour elle." Luisa Miller - 2011 -
Lyon
Kazushi Ono et Ermonela Jaho illuminent l'oeuvre de
Verdi.
"….une distribution dominée par Ermonela Jaho. La
soprano jette toutes ses forces dans cette prise de rôle
où elle réussit à nous émouvoir avec sincérité portée
par une voix ductile et de jolis.
"I
suppose that protocol would require commenting on the
title singer first, but my enthusiasm for Ermonela Jaho,
the lovely Albanian spinto soprano who sang Liú,
overrides the demands of that tradition. Jaho filled
Civic Theatre with a warm, shimmering vocal line that
communicated both her passion and tenderness. Her every
phrase was irresistible, and her signature aria “Tu che
de gel sei cinta” proved the evening’s most poignant
moment. I found myself filled with regret that I had
missed her San Diego Opera debut in 2008 singing the
lead role of Donizetti’s Maria Stuarda." "Right from the start, Jaho managed to draw the audience into her dilemma, presenting a fragile heroine as the courtesan finally succumbing to love in the full knowledge that she hasn’t long to live. Her defiant gesture of dashing the champagne bottle into the ice at the start of ‘Sempre libera’ fools nobody, not least Violetta herself. Her responses to Germont père’s demands in Act II that she abandon Alfredo to preserve his family’s reputation are heartfelt, as is her crushed resignation at the end of the act when Alfredo humiliates her. Good sopranos can make audiences weep during Act III – great ones can do it in Act II and, using this scale, there were a couple of occasions when Jaho attained greatness; in ‘Dite alla giovine’ she spun beautiful pianissimo lines in the duet with Dmitri Hvorostovsky, taken daringly slow, while her ‘Amami, Alfredo’ as she scatters an armful of camellias really tested the tear ducts"..... Violeta - 2010 - ROH "Excellente actrice, se jetant à bras le corps dans son rôle, et chanteuse formidable, Ermonela Jaho s’avère digne de ses plus grands prédécesseurs. Sans difficulté aucune, elle triomphe des nombreuses difficultés du rôle – à commencer par une scène d’entrée toute en demi-teintes, couronnée d’un superbe ré-bémol suraigu. Puis, lentement, la voix commence à s’épanouir, à se parer de couleurs plus sombres, plus intenses : « Un bel di vedremo », magnifiquement construit, lui vaut la première ovation de la soirée avant que « Di tua madre » et une bouleversante scène de la mort arrachent les larmes à plus d’un spectateur"...... Butterfly - 2010
"Que dire
encore d’Ermonela Jaho sans sombrer dans la
répétition ? Cette belle chanteuse, aux mille rossignols
dans la gorge, possède une souplesse aérienne qui lui
permet de broder, avec des délicatesses infimes, des
irisations de rêve, le beau chant bellinien, avec des
nuances de dynamique, forte, mezzo forte, piano,
pianissimi, qui suspendent irréellement le temps ; mais
cette facilité, cette science ne seraient rien sans
l’expressivité, la sensibilité d’une interprétation qui
bouleverse par sa vérité immédiate dans des ornements
qui ne seraient que froide pyrotechnie vocale sans cette
grâce qui leur donne sens et raison d’être dramatique :
face à son père qui la repousse, ses vocalises sont des
sanglots, des larmes perlées. "Habituée des plus grandes scènes de la planète, Ermonela Jaho impose une Juliette d’une beauté vocale foudroyante. Maîtrisant sa voix avec une sûreté absolue, elle la plie aux mille mélismes chers à Bellini et nous délivre une Juliette toute de lumière et de musicalité....." Giulietta - 2009 "Ermonela Jaho, magnétique Violetta dans « La Traviata » Le Monde"..... Violeta - 2009 "Dans le rôle titre, Ermonela Jaho séduit d’emblée par la souplesse de ses « colorations », la brillance de son timbre et la flexibilité d’une voix qui acquiert au fil du drame plus d’ampleur et de profondeur expressive."..... Zaira - 2009 “…Jaho sang the famous line, “Alfredo, Alfredo, di questo core non puoi comprendere tutto l’amore” (“Alfredo, Alfredo, little can you fathom the love within my heart for you”). It seemed a whisper, yet the line carried through the auditorium more effectively than many of the merrier solos. In spite of the refined nature of the entertainment, the performers were given a rock-star reaction when they made their curtain calls at the end of the evening. As Jaho dropped a deep curtsey, the audience launched themselves from their seats to holler and whistle and roar.” .... Violeta - 2009 “….le è temibile pendant la sua rivale in amore, quella Micaela che a Caracalla ha cantato con la voce dell’ottima Ermonela Jaho” ….. Michaela – 2009 "Quant à la Soprano Ermonela Jaho, déjà entendue cette saison à l’opéra de Lyon, elle a chanté La Traviata sur toutes les scènes du monde. Son timbre radieux et homogène a ému, son jeu fragile et sensuel a bouleversé le public"..... Violeta - 2009 “Brava Ermonela Jaho nel ruolo di Micaela, ovviamente bionda e di azzurro vestita: bella voce per una buona interpretazione della ragazza tanto timida quanto decisa” ….. Michaela - 2009 L’intérêt principal, c’est la Violetta d’Ermonela Jaho, soprano aux aigus éclatants qui n’oublie pas que La Traviata est aussi un opéra de chambre où pleurer des rivières sur les amours déchues. Pas de vocalises gratuites ici, de la gymnastique de haute volée quand il s’agit de courir après les plaisirs (un grand gimmick de Verdi) et une voix susurrée, absolument bouleversante, quand elle accepte de se résigner par amour sous les exhortations du père de son Alfredo adoré. ..... Violeta - 2009
"Elle, Ermonela Jaho, Traviata d’emblée éblouissante, bouleversante, délicate,
toute « faiblesse et fragilité » comme l’héroïne dont
elle prend pour la première fois le rôle, chante comme
elle parle, parle comme on voudrait chanter, tout semble
naturel, timbre perlé, ourlé, jamais acéré, des
rossignols dans la voix agile, facile, gracile dans son
port, subtile dans son jeu. Elle est Manon" ..... Manon
- 2008 "Jaho is an extraordinary singer, and one of whom the wider world should take notice"..... Stuarda - 2008 "the Gilda of Ermonela Jaho,who abandons herself to the part so that her singing and acting seems as one"...... - Gilda - 2006 "Jaho appears to be a singer who drains herself emotionally with each performance and has that gift for moving listeners"..... Traviata - 2007 "soprano Ermonela Jaho is a singer who grasps the very heart and soul as well as the technical demands of bel canto"..... - Mimi 2006 "E ammaliatrice
autentica.Eterea deuteragonista e la Micaela del soprano
albanese Ermonela Jaho, presenza inizialmente
angelicata,di impianto vocale scintillante,che matura in
donna dolente quando il suo sogno e all’epilogo".....Michaela
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