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...Her heart-wrenching “Dove sono” was one of those moments of opera magic, when a palpable electricity filled the room. Milton Moore |
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And at the center of it all was soprano Jurate Svedaite. Utterly comfortable in the role's tessitura and hitting all the octaves for a big finish in the set pieces, Svedaite was in fine voice, especially lovely in the lyrical moments of the second act's duet with Dulcamara "Quanto amore" and her beautifully drawn "Prendi; prendi, per me sei libero." Milton Moore, The New London Day - Nov. 2009 However, any Traviata stands or falls on the charisma of its protagonist. It's not quite a one-woman show, but the courtesan Violetta is one of the most daunting roles in the entire soprano canon. Here, in Middletown, we lucked out, with Jurate Svedaite's heroine. She came with all the technical requisites for the part - the many high Cs and Ds of "Sempre Libera" the vocal weight for Act II, and plenty of Italianate tonal warmth in the middle register - a rarity for northern European singers. Larry Kellum, The Town Times (Middletown, CT) - May 2009 Above all, it was a triumph for soprano Jurate Svedaite. From the Act 1 vocal showpiece "E strano/Sempre libera" to her achingly drawn final scene, Svedaite commanded the stage. The night really belonged to Svedaite, whose Violetta was a fully commited performance - vocally thrilling and emotionally wrenching. Her transformation from party girl to victim felt complete, and she carried the opera's tragic closing pages with a conviction that erased the melodrama. Milton Moore, The New London Day - Apr. 2009 Svedaite was a fine Tatiana... Her letter scene, one of the great soprano tours de force in all opera, was unhurried and sung with knowing, fluid dynamics. The effect was riveting as she traveled its emotional landscape, and she had the same vocal and emotional sensitivity in the final scene. Milton Moore, The New London Day - Nov. 2008 Svedaite possesses a soaring, but emotionally colored, soprano voice. Sharma Howard, The Norwich Bulletin - Nov. 2008 The evening's finest moments belonged to Jurate Svedaite in the role of the wistful Contessa. The role is graced with two gorgeous moments, the Act 2 cavatina "Porgi, amor, qualche ristoro" and the Act 3 "Dove sono," both full of longing and sorrow. In both, Svedaite employed a gorgeous messa di voce to subtly taper long, fluid lines and transfix the audience. Her heart-wrenching "Dove sono" was one of those moments of opera magic, when a palpable electricity filled the room. Milton Moore, The New London Day - Nov. 2006 Jurate Svedaite as Valencienne also comes into her own in the second and third acts, her pretty soprano proving a nice complement to Krajewska's mellower tone in one duet and soaring in another duet with tenor Jonathan Taylor. Lee Howard, The New London Day - Apr. 2005 Svedaite, Carmen's competitor for the lowly soldier Don Jose, truly inspires with her interpretation of Micaela. Her crystalline voice portends the tragedy yet to come with delicate clarity and sumptuous phrasing. Lee Howard, The New London Day - Apr. 2004 All materials contained within are © 2000 - 2010, Jurate Svedaite.
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