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Angela Denoke, soprano<\/span><\/p>\n Melbourne Symphony Orchestra<\/p>\n Sir Andrew Davis, conductor<\/p>\n Sydney Opera House COnert Hall, June 29th 2012.<\/p>\n Programme:<\/strong><\/p>\n Wagner R: \u00a0Overture from Tannh\u00e4user<\/em><\/p>\n Wagner\u00a0R:\u00a0<\/em> Die Walk\u00fcre: Du bist der Lenz<\/em><\/p>\n WagnerR:\u00a0 Tristan und Isolde: Prelude and Liebestod<\/em><\/p>\n Strauss\u00a0R:\u00a0 Der Rosenkavalier: Suite<\/em><\/p>\n Strauss\u00a0\u00a0 Salome: Final Scene<\/em><\/p>\n Decades of inter-city rivalry were forgotten when Sydney audiences extended an ecstatic welcome to the Melbourne Symphony Orchestra under its Chief Conductor Designate Sir Andrew Davis\u00a0with German soprano Angela Denoke.<\/p>\n After months of anticipation, and a sell-out Utzon Room concert, Sydney breathed a collective gasp as Deborah Voigt cancelled her scheduled appearance in this programme to undergo surgery. “Who could possibly replace Ms Voigt? ‘ they asked, not without some disdain.<\/p>\n The answer arrived in the form of German soprano Angela Denoke, of whom we in Sydney\u00a0clearly haven’t heard enough. She was the perfect choice for the concert repertoire which remained\u00a0unchanged.<\/p>\n Ms Denoke was voted\u00a0 Singer of the Year<\/em> by the magazine Opernwelt<\/em>. In 2007 she received the Deutsche Theaterpreis Der Faust<\/em> for her portrayal of Salome.<\/em> In\u00a02009 the Austrian Government awarded her\u00a0the title of Kammers\u00e4ngerin<\/em> of the Vienna State Opera. She appears with the major conductors, opera houses and orchestras and in recital at the leading concert halls and festivals, amongst them Berlin, Hamburg, Dresden, London, Paris, San Francisco, Chicago and New York.<\/p>\n In\u00a02006 she sang the title role in\u00a0Richards Strauss’ Salome <\/em>at the Bavarian State Opera,\u00a0a role she reprised recently at the Royal Opera, Covent Garden, in a performance\u00a0that was described as\u00a0\u2018jaw-dropping\u2019 with an interpretation that bordered on \u2018terrifying perfection\u2019 and demonstrating \u2018vocal dexterity and stamina\u2019. Opera<\/em> magazine went on to say “Perhaps today’s Salome of choice, Angela Denoke ensured that her clear, penetrating soprano alluringly conveyed the girl’s youth, yet also rode easily over the large orchestra.\u00a0 Her portrayal was rich in telling details, and her physical movements had a kittenish grace that made Herod’s desire for her to dance seem entirely understandable.”(October 2011)<\/p>\n Fittingly, it was with this terrifying climax (R. Strauss Salome<\/em>: Final Scene) that the concert ended. Despite the recital theatre setting, Ms Denoke drew on the power, the textures and the registers of her voice to recreate\u00a0the atmosphere of menace, debauchery\u00a0 and violence at the core of this scene. In the absence of costume,\u00a0and the freedon to move about the stage,\u00a0Ms Denoke proved herself the consummate\u00a0 artist in\u00a0the way she supported\u00a0the\u00a0dramatic tension through her face and stance. The orchestra, let loose during an exuberant and richly contrasted\u00a0rendition of R\u00a0Strauss Der Rosenkavalier: Suite, <\/em>which came just before, was possibly\u00a0a touch too overpowering for the voice, which would normally have sung\u00a0 from the stage with the orchestra below.<\/p>\n