Reviews
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Katarina Pilotti takes to these full-on romantic songs with total conviction. These are not scaled down salon effusions but works of often operatic inclinations or virile folk accent. Pilotti has the vocal and intellectual apparatus to meet their challenge with out and out skill and passion. |
The solo quartet interpreted their parts with finesse. Especially the soprano Katarina Pilotti excelled with her ability to reflect the implicit subtle nuances in Mozart's score with keen sensitivity. |
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Here, Katarina Pilotti sings extremely well. It's not heavy or laggard, but
rather very lyrical and slender even in the low range. Her voice has a fantastic timbre on the high notes, almost bringing me to tears. She also manages to articulate well both in the ornaments and on the deepest notes. |
The precursor to Dove Sono, Agnus Dei, was sung beautifully by Pilotti.
It was definitely the high point of the evening. It was poised, emotional and glimmering. |
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Katarina Pilotti introduced herself with three visionary songs
of the sea by Gösta Nystroem, one of Sweden's most unusual composers.
She interpreted the dreamily peculiar music with suggestive intimacy
and intensely sounding timbre, showing Katarina Pilotti's great artistry.
[...] Katarina Pilotti finished the first half with five Lieder by Richard Strauss. Songs by this Late-Romanticist composer always require great skill, temperament and interpretation. [...] Katarina Pilotti delivered her interpretations with beautiful tone, rich colour and great insight. Michael Engström accompanied her with a sensitive touch. |
[...] and with that insight, these infinitely beautiful
"Vier letzte Lieder" stand and fall. In her face and in her song,
we could now follow the journey from the wondrous light and birdsong of
Springtime in the first song, via the falling leaves and tired eyes of Autumn,
to the transcendental visions of the soaring soul as we sleep, and to the
last song's aged wisdom and calm waiting for death.
Here I came unusually close to crying, so touching was Pilotti's interpretation of this song of the Gloaming, with its serene bliss and troubled condoleance. It was, after all, written by an 84 year-old man in excile, who for over 50 years was married to his favourite singer, Pauline de Ahna. And who here finally quotes himself from the work of his youth, "Tod und Verklärung". |
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Pilotti aced one song after another. As Margareta in Gounod's
Faust, her voice sparkled like the jewel box of which she sang.
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Katarina gave a dazzling interpretation, and her voice
moved effortlessly between folk music, bel canto, renaissance tears and
Nordic herding calls.
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She sang the Peterson-Berger songs lovingly and tempered,
increasing her flow and passion when she returned with Ture Rangström,
and absolutely radiated in the compositions by Stenhammar. A perfect blend
of lyrical sweetness and dramatic passion was shown in the Runeberg poem
"The girl came from her lover's meeting". Overall, Katarina Pilotti
displayed in both her voice and plastique a wonderful feeling for the delicacy
of Lieder.
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And with Katarina Pilotti as soloist, it was a given success.
She radiated as much as her dress in sunny yellow and red orange, and
demonstrated
her natural stage presence and versatility in her singing, with or without
a microphone. There was a groove in the "Will Song", glittering
joie de vivre in "I could have danced all night", and concentrated
feeling in Ellington's "Heaven". And Rosina's famous cavatina
sounded excellently despite stiff accompaniment to her excuisite coloraturas.
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Katarina Pilotti, one of Sweden's most talented sopranos,
with elegant high notes, wonderfully clear intonation, and not least, displaying
an eminent art of presentation, interpreted her parts with expected sublimity.
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Three individually sensitive Poulenc romances, excessively
draped in harmony, received an air of first class artistry through
Katarina Pilotti.
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Katarina Pilotti made a delightful Barbarina.
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Katarina Pilotti began by singing Schubert quite splendidly.
With a soft and warm voice she performed "Der Hirt auf dem Felsen,
op. posth 129", with lyrics by Wilhelm Müller, and some songs
by Poulenc, with lyrics by Vilmorin, all performed with great feeling.
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