As part of a short international tour Sonya Yoncheva, accompanied by the Cappella Mediterranea directed by Leonardo García Alarcón, made her debut in the Grans Veus cycle at the Palau de la Música presenting her latest album, ‘Rebirth’ (‘Renaissance’). Quoted Mozartian interpreter, Belcantista and, lately, also Verdiana, her musical interests are as many as the styles that she usually visit are wide, part of them reflected in the CD. On the market since last spring and produced and recorded during the pandemic, ‘Rebirth’ presents a heterogeneous journey through 500 years of music, from Monteverdi to ABBA pop, betting on a theme that affects the spiritual and healing aspect of musical art in this new stage that the world is experiencing after confinement and that serves as a tribute to the hundreds of thousands of deaths from the epidemic.
For the concert tour, the Bulgarian singer basically selected Renaissance and Baroque music, with some foray into traditional song, pieces, many of them arranged by the guitarist and theorbo performer Quito Gato, a member of the instrumental ensemble. Yoncheva, fully involved with each of the works, performed a program that was very comfortable for her and without many demands in the acute area. His stylistic and technical mastery is solid and brings a lot of naturalness; his origins in the realm of early music were revealed in his sculpted note-to-note phrasing, his control of ‘fiato’ and his sense of ‘legato’ and ornament. All this, together with his voice with its wonderful timbre and velvety enamel, caused the public to fall in love with his power of communication when playing Stradella, Cavalli or Monteverdi. His version of Dido’s lament, from Purcell’s ‘Dido and Aeneas’, was impressive. The same could be said of his ‘Come again, sweet love’, by John Dowland, or the aria written by Garcia Alarcón ‘And your plants Nisea’, for the opera ‘El Prometeo’.
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The Argentine director and his ensemble made an impact in all his interventions, especially in Caldara’s impeccable chaconne or in that applauded ‘tarantella’. The program ended with the popular ‘There is no need to tell him the beauty’, which he repeated as a farewell, while in the tipping chapter he enchanted with ‘Like an angel passing through my room’, by ABBA.
Reference-www.elperiodico.com