Hailed as a singing-actress, Nelly Miricioiu is one of the most versatile artists of our day. Her repertoire extends from Mozart and bel canto to Verdi, Puccini and the verismo to modern Italian opera Respighi and Zadonai, taking in French and Russian composers too.
Her artistry has been praised by everyone, from fans to critics and fellow opera singers. She has sung all over the world on the most prestigious opera stages, from the Royal Opera House to La Scala, to the Met,to Sydney Opera House, to Teatro Colon in Buenos Aires.
For all that and more you can visit her official website, www.nellymiricioiu.com.
This is something different.
Rarely can all the official data and information convey the soul of an artist, the energy behind the artistry, the story behind each character, the person who goes home once the thick opera curtains have fallen.
This is why Nelly and I, have come up with an idea of a blog.
Welcome to Nelly's blog,the woman behind the diva.
25 years ago Nelly was appearing for the first time in Amsterdam with the Saturday Radio Matinee (once called VARA) for a concert performance of Mefistofele and one year later history was made when they sent her a new score for the following performance. Nelly looked at it and thought, "my God so many notes"..it was the score of Armida by Rossini which marked not only the beginning of the famous Nelly MiricioiuVARA Matinee concerts but also a whole new repertoire for Nelly, that later would become her trademark. She then went on to sing Anna Bolena, Maria Sturda, Roberto Devereux, Norma, Tancredi, Semiramide, IlPirata and also versimo roles like Francesca diRimini and Iris. She had tremendous successes with Ernani and Le VespresSiciliennes (in french) and in 2006 she sang Adriana Lecouvreur with Marianne Cornetti and the late SergejLarin. To mark this special anniversary she returns tomorrow, Saturday, 20 March for a concert performance of the rarely heard Caterina Cornaro by Gaetano Donizetti. Joining her are Dario Schmunck as Gerardo and Nicola Alaimo as Lusignano and David Perry conducting. The cast will also include MircoPalazzi, KárolySzemerédy, Peter Gijsbertsen. This performance will be recorded for a radio broadcast. Below a fragment of the historic performance of Armida in Amsterdam.
A little while ago we all gathered at the Spiro Ark Centre in the heart of London, where the wonderful Maria Tudosa exhibited a series of paintings inspired by the Holocaust and Jewish sufferings. To honour her and this event, Maria's daughter, none other than Nelly Miricioiu, gave a moving recital for all those present together with one of her students Tal Katisr. Nelly and her mother are bonded not only by blood but also by their love and deep involvement with art. After all, Maria named her daughter after the legendary soprano Nellie Melba, whose biography she was reading whilst pregnant. Although Maria started off as an actress, she later discovered her passion for singing and began training as a soprano joining one of the most prestigious Romanian musical institutions, the George Enescu Philharmonic in Iasi, Romania. A multidimesional artist, she continued assidously to expand her horizons by dedicating herself to ballet, poetry and painting, but it was in the latter where she could find the true expression of her artistic and spiritual nature.
A fervent opposer of the Romanian communist regime her art is strongly influenced by the fight against totalitarianism as well as her passion for mysticism, spirtuality and fantastic surrealism.
Maria has exhibited her work in both her native Romania and abroad, including at the Royal Academy of Art.
The exhibition closes on 9 April and for more details please click here. Maria Tudosa's full biography can be found here.
"The event of the week for me, however, was undoubtedly the Chelsea Opera Group’s concert performance at Queen Elizabeth Hall of Verdi’s La Traviata. Gianluca Marciano conducted a splendidly paced account, and Cosmin Ifrim as Alfredo, and Alan Opie as his father, sang robustly and captivatingly. Nelly Miricioiu seemed to bring a lifetime’s experience, aptly enough, to the role of Violetta, but her vocal instrument was in impeccable form. Right to that all-important single-note affirmative dying cry, she was well-nigh transcendent."