“Daniela Mack (Desdemona) is a riveting presence who knows the value of focus and stillness. To watch her is to feel that she’s fully immersed in the scene. As for the singing, whether in florid work (always cleanly articulated but also bound into a legato phrase) or cantilena, the voice pours out like molten gold.”
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Inside you’ll find Daniela Mack, the coloratura mezzo, talking to David Shengold as she prepares to sing Rossini’s Desdemona in Philadelphia.
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Dazeley and Daniela Mack never touched a score which in particular complemented the latter’s strikingly potent portrayal of the abandoned Amastre, perhaps the day’s most completely satisfying characterization.
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“Mack, singing with both force and a casual, self-contained swagger, was an excellent wild card. Her role was the necessary trickster who instigates key conflicts, and her stage presence was explicitly about a woman relishing being disguised as a man, not comical but serious, and mocking Serse for not seeing through the subterfuge. Her big Act III aria, “Cagion son io,” another one of Handel’s plangent, slow numbers, was exceptional, one of the musical and dramatic high points of the performance, Mack expressing a complex mix of anger, sorrow, and determination.”
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“She just sang beautifully. Her ‘Lord, to Thee each night and day’ was outstanding.”
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A late-arriving bonus is Daniela Mack’s Amastre, this time a character who’s a woman dressing as a man; the stylish outfit and dark glasses did the trick, though again the vocal persona is more masculine, with all stops pulled out in chest voice.
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La argentina Daniela Mack, de voz aterciopelada, alcanzó su cima como Romeo en los pasajes de su largo lamento.
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La mezzosoprano Daniela Mack superó con creces el reto en el desarrollo de su personaje, cargado de expresividad y digno partenaire de su amada en escena. El tercero en discordia fue el tenor canario Airam Hernández, cuya voz no defraudó en absoluto las expectativas que crea el personaje escrito por Bellini.
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A muy alto nivel también el Romeo de Daniela Mack, una mezzo con grandes medios vocales. Ya en su preciosa primera intervención “Ascolta. Si Romeo t’uccise un figlio” demostró que es una cantante que sabe perfectamente cómo acercarse con clase y una innata elegancia al mundo de Bellini.
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