![]() Therefore, we do not think it is a coincidence at all that Thomas Prochazka, a severe critic for the highly prestigious magazine Der Merker, made explicit reference to Corelli in his review of Ganci’s Cavaradossi in Vienna. Last but not least, of course, the emotional “diminuendo” of the phrase “disciogliea da veli” (not written in the score, but still much coveted by any audience …), which dates back to the golden age of opera, passing from Fleta to Corelli, and which, each time Ganci sings it, gets closer to those mythical models. The character can be enriched with endless nuances, perhaps not immediately perceptible to the general public, but which add extraordinary efficacy to the whole interpretation. Cavaradossi doesn’t just need sparkling high notes (which Ganci possesses and flaunts in abundance). ![]() Just a few months after his first performances of Tosca at the Vienna Staatsoper (enthusiastically welcomed by critics and the audience), Ganci has not only proven to be in complete control of the role, but every evening he tends to perfect it a little more. And both in the amorous skirmishes of the duet in the First Act, and above all in the finale, the soprano proved to be an excellent match for the power and the ringing of Luciano Ganci’s Cavaradossi. If in the first evening we thought that we would have liked, particularly in “Vissi d’Arte,” a slightly more colorful phrasing, our wish was immediately answered in the second, where the rendition was more varied and engaging. ![]() ![]() It has the polish, the weight, the “shine” that the character requires.
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