ADAMO
Lysistrata, Aphrodite / Charito / Tisiphone
Lysistrata, or the New Goddess, New York City Opera, 3/21/06
"...In these days of economically-driven minimalism, Adamo's casting scale is refreshing: there were seventeen solo singers, some doubling small roles. And his idiom is undeniably 'singable.' City Opera showcased its considerable resources, with particularly nice work from soprano Amanda Borst (Xanthe), Jennifer Roderer (a spirited, sonorous Sappho) and two debutants—pure-toned soprano Arianna Zukerman (triple cast, notably as Aphrodite) and tenor Dinyar Vania (Meleagros)."
—David Shengold, Opera News in Review, New York City
BACH
B minor Mass
(excerpts)
"Arianna Zukerman stilled the congregation of 2,200 [at Westminster Abbey] with her clear soprano voice as she sang, with a violin, 'Erbarme dich, mein Gott,' from Bach's St. Matthew Passion."
—Hugh Davies, The Daily Telegraph
BEETHOVEN
Fidelio, Marzelline
Andrew Litton, Minnesota Orchestra
"Fidelio is [the] work that Andrew Litton conducted before an enthusiastic, capacity crowd Saturday night at Orchestra Hall, the finale of the Minnesota Orchestra's Sommerfest...the orchestra, playing at the top of its form Saturday night, had engaged some very fine singing actors for this performance, as well as the always accomplished Minnesota Chorale...this was an impressive performance, one highlighted by commanding, fervent singing from the evening's Florestan, tenor Clifton Forbis, and the Leonore, soprano Christine Brewer...The rest of the cast was strong, too, starting with Arianna Zukerman's charming Marzelline, which offered a bigger voice than we usually hear in this role. "
— Michael Anthony, Star Tribune
Ninth Symphony, soprano solo
Big screen engages audience on the lawn at orchestra opener
"...SARATOGA SPRINGS
A large lawn crowd showed up early at Saratoga Performing Arts Center on Wednesday evening, to set up lawn chairs and share picnics before the opening night performance of Beethoven’s masterpiece 'Choral' Symphony No. 9 by the Philadelphia Orchestra...
On this hot, humid opening night, [Maestro Charles] Dutoit led an ensemble with many new faces, both new members and substitutes, but maintained the old, familiar Philly sound...Vocal soloists for this performance all were making their SPAC debuts, and their voices were as good as any I've heard sing in this work. Soprano Arianna Zukerman, mezzo Elizabeth Bishop, tenor Steven Tharp, and baritone Philip Cutlip sang with an element of actual joy in their voices and on their faces."
— Judith White, Star Tribune
Missa Solemnis, soprano solo
"Burlington..Beethoven's monumental Missa Solemnis is one of the very few of the composer's works that remains controversial to this day...The Missa Solemnis differs from most Masses in that it, first, has orchestral interludes, and second, the four vocal soloists sing mainly in ensemble rather than solo. (The only large solo is for violin.) In short, this is a truly symphonic work...
...The solo ensemble proved excellent... Arianna Zukerman was a brilliant soprano with musical depth. (Her using a diminuendo at the top of slow phrases was particularly effective and moving.) — Jim Lowe,, Vermont Today, Times Argus Staff
BIZET
Carmen, Micaela
Andrew Litton, The Dallas Symphony Orchestra
"The Dallas Symphony Orchestra concluded its seventh annual residency at the Bravo! Vail Valley Music Festival on Saturday with an impassioned concert version of Bizet's Carmen, conducted by music director Andrew Litton... In the title role, mezzosoprano Angela Horn was every inch the seductive, devious temptress. Looking the part of a svelte and heartless gadabout, Ms. Horn riveted the attention with provocative acting and a rich, husky vocal timbre. Her spirited and haughty disposition in the familiar habanera was brilliantly foiled by the equally radiant Arianna Zukerman, whose plangent soprano embodied the sweet and demure Micaela."
— Sabine Kortals, The Dallas Morning News
BRITTEN
The Turn of the Screw, Governess
Jane Glover, Chicago Opera Theater
"At the center of all this, soprano Arianna Zukerman invested the Governess' mounting apprehension with a shining, voluminous soprano…"
— John von Rhein, The Chicago Tribune
"The sheer sound of the voices Wednesday night, especially Zukerman's Governess and those of two children, Miles and Flora…underscored the disturbing, off-kilter atmosphere that saturates Britten's score.
As the Governess, Zukerman's clear, crystalline soprano had both a hysterical edge and a touching fragility.…every fierce vocal leap, each staccato, short-breathed flight took us inside her tormented psyche. Zukerman is a thoughtful presence onstage, and through her expressive eyes as well as her agile voice, we could almost see her character evolving from an uncertain young woman to an adult determined to face her own fears."
— Wynne Delacoma, The Chicago Sun-Times
"COT's truly heart-pounding production features not only a richly symbolic vision (one that can turn a playground into a graveyard with a mere shift in tone) but exquisite performances—namely soprano Arianna Zukerman as the agitated, over-protective Governess…"
"Arianna Zukerman was a quirky, doe-eyed Governess, on the verge of nervous breakdown. Her lovely voice had the breadth of dramatic inflection to make for a powerfully effective performance."
— William Shackelford, OPERA
"Arianna Zuckerman brought plenty of lyric tone to the Governess, some pressure in the timbre suggesting the hysteria central to the character…[an] attractive performance.…"
— Mark Thomas Ketterson, Opera news
JEAN-MICHEL DAMASE
Ochelata's Wedding, Wilma
Ransom Wilson, OK Mozart Festival
"Damase's lyric gift is most evident in such numbers as Wilma's Act 1 arietta 'Oh Father,' movingly sung by soprano Arianna Zukerman…"
—Joseph Kestner, Opera news
DONIZETTI
Élisabeth, Nizza
Will Crutchfield, Caramoor Festival
"Will Crutchfield's Bel Canto at Caramoor series presented its most successful staging yet in mounting two performances of the Donizetti rarity Crutchfield rediscovered and has pieced together into a performing version…Crutchfield's international cast performed strongly, with apt and fluent style, and the whole venture garnered happy ovations…Arianna Zukerman offered a pure lyric soprano and a fair dose of genuine soubrette charm as Nizza."
"…Donizetti['s]…Elisabeth, ou La Fille de l'Exilé (Elizabeth, or The Exile's Daughter)…received what is believed to be its French-language world premiere at the Caramoor Festival (July 17, 2003)… Caramoor's cast (seen July 19) included some of today's most promising bel canto specialists…Smaller roles were ably sung…[including] Arianna Zukerman (a bright-voiced Nizza).
—M. Lignana Rosenberg, Opera news
GLUCK
Orfeo ed Euridice, Euridice
"..glorious support from soprano Arianna Zukerman, who imparts drama via contrasting dynamics as Euridice."
—Nikki C. Hasden, Chattanooga Times Free Press
HANDEL
Solomon, Solomon's Queen, First Harlot
Ivor Bolton, Israel Philharmonic
"The soloists participated well in this festival: Arianna Zukerman sang beautifully…the anxiety of the real mother in Solomon's trial was enlightened throughout."
—Noam Ben-Zeev, Ha'aretz
Arias
"The soprano, Arianna Zukerman, put her big, dramatic, and versatile voice to the service of strong emotions. Her mastery in piano singing, her brilliance in the forte passages, and the intensity of her expression were spectacular."
—Rita Wolfensberger, Der Landbote (Switzerland)
HAYDN
Die Jahreszeiten, Hannah
Jane Glover, Music of the Baroque
"Music of the Baroque has always been a potent ensemble, growing considerably more so since Glover's tenure. Impressively, this opening concert of the season at the First United Methodist Church in Evanston found them at a still higher plateau. Its strings sang with the precision of a world class orchestra, the brasses were delightfully raucous, and the choral forces dove into their assignment with unconcealed relish...
...The plot, such as it is, flowed from the lungs of Hannah (Arianna Zukerman), Lucas (Shawn Mathey), and Simon (Nathan Berg). Zukerman's high notes rang with depth and clarity, while tenor Mathey's hushed, affecting intonement of a frozen lake was chilling. The most complete artist-singer was baritone Berg, who fully inhabited a dizzying array of scenarios."
—Michael Cameron, Chicago Tribune
MENOTTI
The Consul, Anna Gomez
Joel Revzen, Berkshire Opera Company
"…the voice of Arianna Zukerman shone with exceptional promise"
—Richard Dyer, The Boston Globe
MOZART
Così fan tutte, Despina
Joel Revzen, Arizona Opera
Ariz. Opera's 'Così' a sweetheart of a production
"Mozart's 1790 opera about the maturation of romantic love requires a no-fuss production that gets at the heart of the story, and a cast that sings well without getting in the way of the characters. It needs exactly what Arizona Opera has given it in the Cos` that opened over the weekend at Orpheum Theatre...Like almost all Arizona Opera productions, this Cos` is double cast, so I can attest only that but Sunday's singing, at least, was at the highest levels...Arianna Zukerman's Despina was the comic embodiment of the production. Some Despinas attempt to be figures of feminine wisdom, but Zukerman's is an out-and-out, go-get-'em hedonist with more than a touch of the cynical, clearly happy to be a cheerleader for the innocent sisters in their chance to taste the forbidden."
—Kenneth LaFave, The Arizona Republic, Jan. 11, 2005
Playful Arizona Opera "Così fan tutte" Doesn't Skimp on Musicality
"Così fan tutte's" stark, minimalistic scenery, mostly in white or unpainted wood, was a progressive treatment for Arizona Opera's new production...[It]...resulted in a well-sung and light-hearted version...The singing was something wonderful. I saw one of the alternating casts but there wasn't a bad performance...The two comic roles were standouts. Steven Condy's lighthearted and mischievous Don Alfonso was the model of keeping a straight face while the lovers struggled to figure out his intricate plotting and scheming. Arianna Zukerman had great fun with Despina, and she enjoyed her employers' blind gullibility. She was smitten when she realized she had been manipulated by Don Alfonso. Both sang impeccably.
—Chris Curcio, Curtain Up Phoeniz, Jan. 18, 2005
Don Giovanni, Zerlina
Joel Revzen, Berkshire Opera Company
"Arianna Zukerman is also superb as Zerlina….The shine of Zukerman's soprano has startled in small roles with Berkshire Opera in past seasons; it was good to hear how nicely she is coming along and how her voice is developing—she sounds as if she could be a Donna Anna in a few years. Meanwhile, her Zerlina had vocal poise, elegant control of style and dynamics, and real spunk."
—Richard Dyer, The Boston Globe
"Arianna Zukerman, who has appeared in several BOC productions, gets better all the time. She's a charming and vocally exciting Zerlina…"
—Elyse Dommer, Curtain Up
"…Arianna Zukerman was a delight as Zerlina, the bride who succumbs, not all that reluctantly, to Giovanni's advances."
—Bill Rice, The Daily Gazette
"The rest of the cast also is superb, especially …Arianna Zukerman as Zerlina."
—Herbert Wolff, WAMC Northeast Public Radio
"Arianna Zukerman was a charming and ideal Zerlina—bringing a bright and bewitching soprano voice to the innocent peasant."
—Ron Lee, WBRK Radio
"As Zerlina, the next intended victim of the rakish Don Juan, Arianna Zukerman is both adorable to see and delectable to hear…She sings like an angel and looks like one."
—J. Peter Bergman, The Independent
"Zukerman's Zerlina is sweet and vocally supple, particularly in 'Vedrai, carino,' as she playfully but tenderly consoles her beloved Masetto."
—Phil Drew, The Troy Record
The Magic Flute, Pamina
Robert Bernhardt, Chattanooga Symphony and Opera
"A wealth of fine singers, all skilled in dramatic presentation, made sure that Mozart's sensuous vocal music, which was sung in English, was treated with either the great dignity or infectious humor the passages demanded...Suitably matched and delivering some of the most exquisite love music ever written were tenor Chad Freeburg as Prince Tamino, warm and tender of voice and demeanor, and elegant soprano, Arianna Zukerman, who gracefully scaled a wealth of emotions as a distraught and loving Pamina."
—Chattanooga Times Free Press
"Arianna Zukerman, playing Pamina his love interest, brought a powerful and rich soprano voice to a role that had to compete with kids dressed up as forest animals hopping around during her 'I'm going to stab myself because I've lost Tamino's love' aria (but who couldn't love that darling kid in the turtle outfit lumbering across the stage)."
—Mel R. Wilhoit, The Chattanoogan.com
The Marriage of Figaro, Susanna
"John Kuether in the title role of Figaro and Arianna Zukerman as his fiancée, Susanna, led the cast…and her Susanna had a quick wit and radiant smile. Her clear, powerful soprano voice took on added color and richness in the sensual fourth act aria, "deh vieni, non tardar." While charming everyone in the cast and the audience, Susanna maintained her honor against the lustfull advances of her master, the Count…And in this performance, Zukerman—daughter of a world-famous violinist and a world-famous flutist—more than maintained the honor of her illustrious musical family."
—Philip Marcus, Times newspapers
The Marriage of Figaro, Barbarina
Joel Revzen, Berkshire Opera Company
"…there is a gorgeous quality in her voice—this Barbarina could well become a Countess…"
—Richard Dyer, The Boston Globe
"The minor player to watch, as in watch-this-rising star, is soprano Arianna Zukerman, whose Barbarina makes an otherwise too-long fourth act forgivable."
—Elyse Sommer, Curtain Up
Requiem
Berkshire Choral Festival
"The power of precision"
"Along with (Jane) Glover came a quartet of fine soloists, three of them new to the Choral Festival: (Phyllis) Pancella, the mezzo-soprano; soprano Arianna Zukerman, and baritone Stephen Morscheck. Tenor Charles Reid was the one Choral Festival veteran. Individually, and especially as an ensemble, the four singers were among the best to grace the Choral Festival's stage in recent seasons."
—John Felton, The Berkshire Eagle, August 16, 2006
"The Berkshire Choral Festival ended its season with two monumental performances…after intermission the Mozart Requiem K626 had an ideal performance...The four soloists—Soprano Arianna Zukerman, Mezzo Phyllis Pancella, Tenor Charles Reid and Baritone Stephen Morscheck—were ideally cast. Their quartet, 'Recordare Jesu Pie,' had time stopping beauty about it..."
—John Paul Keeler, Hudson-Catskill Newpapers, August 17, 2006
Concert Arias
Pittsburgh Symphony Orchestra, Mountain Laurel Center for the Performing Arts, August 2003
"Friday night, the center inaugurated the 2,500-seat Tom Ridge Pavilion with an all-Mozart program with the Pittsburgh Symphony Orchestra under Pinchas Zukerman…Miss Zukerman led off the concert with the aria 'L'amero, sarò costante,' from Mozart's rarely performed Il re pastore. She has a warm, glowing instrument and showed it off to good effect in this tender declaration of undying love. A clearly delighted Pinchas Zukerman took the solo violin part, affectionately seconding his child and conducting with his bow."
Concert Arias
Pittsburgh Symphony, Mozart Festival, May 2003
"Arianna Zukerman made her debut under her father's (Pinchas Zukerman) direction, performing 'L'amero, sarò costante' from the opera Il re pastore and 'Deh vieni, non tardar' from Le nozze di Figaro. A rising young soprano, she apparently is becoming well-versed and well-coached in the Mozart repertoire. It is perfectly suited to her voice, which is endowed with both clarity and a richly distinctive sound. And, as if it runs in this musical family, she showed a generosity and ease of phrasing that was pleasing to the ear."
—Jane Vranish, Pittsburgh Post-Gazette
PSO CONCLUDES MOZART FESTIVAL WITH IMPRESSIVE PERFORMANCE
"Soprano Arianna Zukerman sang arias from Mozart operas to open each half of the concert. 'L'amero, sarò costante' (I will love her, I will be constant) combines a beautiful vocal line with an expressive solo violin part that was performed by daughter and father...The artistry of the singer and instrumentalist was memorable. The soprano was more impressive opening the second half with 'Deh vieni, non tardar' (Come to me, don't tarry) from The Marriage of Figaro. It is part of the elaborate ruse constructed to catch Count Almaviva, the philandering husband of the 23-year-old Countess. Susanna, the count's target, switches costumes and masks with the Countess, in order to trap the Count by making him make his pitch to his own wife. Zukerman was appealingly pointed in the aria, as Susanna enjoys an additional level of humor that her man Figaro is listening and will be jealous. The singer received enthusiastic audience approval, and a kiss from her father, after her performance."
—Mark Kanny, Pittsburgh Tribune-Review
Arias
Pinchas Zukerman and Friends, The Winterthur Musikolleguim's Last Concert of the Year
"To begin the program Arianna Zukerman interpreted the aria, 'L'amero sarò constante,' of the young Mozart, in which his strong talent for opera and his sense of intense expression is already developed. Both elements are also the strengths of the soloist whose full, leaning toward the dramatic, but also very expressive voice wonderfully came to fruition, and she knew how to create, with careful combination, both introspection as well as passion."
—Rita Wolfensberger, Der Landbote (Switzerland)
Arias
Gerard Schwarz, Seattle Symphony, 2000
"Soprano soloist Arianna Zukerman made a fine impression in her first Mozart aria ('L'amero sarò constante,' from Il re pastore). Hers is a very attractive Mozart soprano, nicely shaded and expressive…"
—Melinda Bargreen, The Seattle Times
PUCCINI
La Boheme, Musetta
La Boheme in concert with the Philadelphia Orchestra (Mann Center)
Rossen Milanov, conductor
Fine Young Bohemians
"Arianna Zukerman, in a satiny aqua gown and empress necklace, struck into an instant diva deportment as Musetta. Her animated vocal detailing was rowdy and vocally daring."
—Lewis Whittington, The Bulletin
La Boheme, Musetta
La Boheme in concert with the Philadelphia Orchestra (Bravo! Vail Valley Music Festival)
Rossen Milanov, conductor
This Puccini all about the singing
"Arianna Zukerman acquitted herself admirably as Musetta, delivering a nicely shaped Waltz..."
—Marc Shulgold, Rocky Mountain News
SCHUMANN
Schumann and Fantasy at Festival in Santa Fe
"In a group of five Schumann songs...the soprano Arianna Zukerman...was strong, direct and sensitive."
—Anthony Tomassini, The New York Times
VERDI
Falstaff, Nanetta
Fiora Contino, Opera Illinois
"Falstaff comes with some first-class singers, including soprano Arianna Zukerman and bass-baritone Jan Opalach, a frequent guest of the New York City Opera, who makes his debut here in the title role….Zukerman as Nannetta and tenor Gerard Powers as Fenton turn in some radiant performances…"
—Gary A. Panetta, The Journal Star
Requiem, soprano soloist
Jeffrey Thomas, UC Davis Symphony
"Ah, the joy of hearing great voices in the marvelous solos, duets, trios and quartets that fill this piece! And it would be hard to assemble four better voices than those who sang on Sunday. Each was magnificent....and Arianna Zukerman, the magical soprano who reached the heights of her range with a clarity and intensity that brought tears to our eyes....Ms. Zukerman captured the mournful plea of the dying soul, with another essential assist from the chrous, in the closing 'Libera Me.'"
—E. Haig, Sacramento Gazette
"Giuseppe Verdi's Requiem, a masterpiece by anyone's reckoning, was given its full dimension and power Sunday evening when a huge chorus of 260 singers, four spectacular soloists and a cohesive 116-piece orchestra, all under the steady hands of conductor Jeffrey Thomas, performed the work at the Mondavi Center at the University of California, Davis...The extraordinary performance...[with] soprano Arianna Zukerman...treated the sold-out audience to a rare experience in which everything coalesced magnificently...Zukerman, a young soprano with a solid future if she continues to sing as dramatically and beautifully as she did Sunday...gave [a] performance one wishes [was] recorded."
—Patricia Beach Smith, The Sacramento Bee
RECITALS
"Arianna Zukerman possesses a remarkable voice that combines the range, warmth and facility of a Rossini mezzo with shimmering, round high notes and exquisite pianissimos that would make any soprano jealous. An intense presence with sparkling eyes, the younger Zukerman showed an affinity for drama through vivid characterizations and smart use of vocal color in Pauline Viardot-Garcia's emotionally charged 'Plainte d'amour' and a set of Reynaldo Hahn songs, including the sentimental 'Si mes vers avaient des ailes.'"
—Ronni Reich, Washington Post, February 11, 2007
SOPRANO CELEBRATES THE SERENADE
Singer Arianna Zukerman educates, elates Bryson audience
Monday evening, Savannah Music Festival Director Rob Gibson noted that classical musical "is a hard sell right now" to the younger generation. Then he introduced Arianna Zukerman, a young, hip, talented soprano who could easily serve as classical music's ambassador to the younger set.
Coincidence? You decide.
More than 100 people gathered at Bryson Hall for Zukerman's recital, which marked the start of the festival's Jepson Classical Series.
The venue, a new addition to the festival lineup, provided an intimate, if unconventional setting for the vocalist. In the '30s, '40s and '50s it was an automobile showroom, among other things, before it was revamped and reopened in December.
Zukerman, accompanied by pianist Craig Ketter, sang the entire first half of the program in German, focusing on serenades by Schubert, Brahms, Wolf and Strauss.
On paper, that roster may seem a little tedious, but Zukerman took the time to explain what appealed to her about each composer, then ably demonstrated those elements in song. She ended with a brief but fierce rendition of Strauss's Zueignung, Op. 10, No. 1.
The second part of the program featured selections from English and American composers. Audience favorites included "The Tout-ensemble," a challenging piece by Arne; and "Taylor, the Latte Boy," Zina Goldrich and Marcy Heisler's hilarious take on "caffeinated love."
Critics have described Zukerman's voice as "luminous," and I agree. Her mastery of both the scale and the German language is admirable, but she has something else - accessibility.
While the word "diva" was arguably created for someone else who once had Zukerman's job - opera legend Maria Callas - last night Zukerman easily poked fun at composers, lyrics, even herself.
Can you imagine Callas doing that?
—Amy Morris, The Savannah Morning News (03/21/05)
"[Arianna Zukerman] has been endowed with a soprano voice of unusually well-rounded tone, which she has trained intensively at the Juilliard School in New York and uses with intelligence, superb control, a strong, attractive stage presence and a deep knowledge of 18th- and 19th-century styles"
—Joseph McLellan, The Washington Post
"Ms. Zukerman, the daughter of the violinist Pinchas Zukerman and the flutist and television commentator Eugenia Zukerman, offered gracefully shaped and deeply felt accounts of Schubert's An Silvia and Ständchen, and a nicely paced version of Stephen Sondheim's Send in the Clowns, as well as lively contributions to duets by Mozart and Cole Porter."
—Allan Kozinn, The New York Times
"The young soprano…is an artist through and through. Her voice is fresh and expressive. Given her acute vocal skill, she focuses on technique and hearing herself, rather than being carried away by her theatrical acumen….More than a debut, Arianna Zukerman's recital…was truly a lesson in how to sing, how to select a seductive program, and to allow oneself to be taken by the skills of an accomplished pianist…"
—Àlex Robles Fitò, La Vanguardia (Barcelona)
"In her October 4 appearance in the Myra Hess concert series, she displayed not only a lovely voice, but a clarity, ease, and expressiveness of phrasing that surely were absorbed from both parents….Zukerman's opening selection 'So shall the lute and harp awake' from Handel's Judas Maccabeus, left the happy impression of a person who simply cannot help singing. Not every singer conveys that impression."
—Dan Tucker, International Music Foundation
"…Arianna Zukerman has been for us a very pleasant discovery. She has a voice with an enviable characteristic: personality. The program she offered with the pianist, Brian Zeger was quite committed, varied, and intense….The best was the depth with which she faced the Deux Mélodies Hébraiques by Ravel. Her Kaddisch was especially impressive due to the maturity she showed…Also, the songs she performed by the well-known Leonard Bernstein showed her ability to make us feel the text."
—M. R. Sánchez M., Canarias 7 (Canary Islands)
IN CONCERT
Schubert/Ginastera
Salve Regina/String Quartet No. 3
Review: Santa Fe Chamber Music Festival
"...Schubert’s contemplative Salve Regina in A Major for soprano and string quartet was inspired by a walking tour about the same time he was writing his more famous 'Trout' Quintet. Arianna Zukerman’s clear soprano rose gently above the Miami String Quartet in a line flowing as calmly as the mountain stream Schubert hoped to imitate.
Alberto Ginastera’s String Quartet No. 3, written in 1973, was the odd man out in this presentation. It might as well have been called a song-cycle as all but the second of the five movements has a sung or spoken text. The performance of this work, again by the Miami Quartet could not be faulted for its pristine execution. Zukerman was exemplary in popping out notes from amidst the sea of what the late Jerry Hadley used to called 'arbitrary dissonance.'..."
—D.S. Crafts, Albuquerque Journal
UC Davis Music Department's choral concert directed by Jeffrey Thomas
"Mozart's "Exsultate jubilate," K 165, was composed in Milan for the lead castrato in Mozart's opera Lucio Silla. Never at a loss, the young Mozart composed several pieces in the last weeks of 1773, while he was waiting to go home to Austria. Arianna Zukerman, with a gorgeous coloratura and a voice so distinctive one would recognize her anywhere, sang the solo with a small orchestra and Mr. [Jeffrey] Thomas conducting. Trills, roulades, ornamented lines, glides from low notes to high: Miss Zukerman gave the exultant music her expressive all. The closing Alleluias seemed an outpouring from her heart....[In] Haydn's Missa brevis Sancti Joannis de Deo...the choral voices, while celebratory, seemed to express feelings from grief to penitence to joy. Certainly as the mass reached the Benedictus and the soprano solo, Miss Zukerman's voice rang out with such power and beauty that it was like a blessing from another world."
—Marilyn Mantay, Davis Classical Review, December 3, 2006
An Evening in Paris
Sarasota Opera
"…Arianna Zukerman had a remarkably fluid soprano that shifted with the colors and nuances of a set of three art songs by Reynaldo Hahn. She later confirmed her interpretive prowess with a fresh version of La Vie en Rose, a song burned in our memories by recordings of the famed chanteuse Edith Piaf. Zukerman didn't imitate and was all the more convincing."
—Gayle Williams, The Longboat Observer
Franz Schubert: Unfinished/Refinished
EOS Orchestra
"…[T]o suggest a narrative behind some of Schubert's finest songs, Mr. [Peter] Kazaras dressed the [shapely] Ms. Zukerman in a Depression-era dress. She sat in a livingroom chair as she listened to a phonograph.
I think we were supposed to imagine that she was hearing records of the songs she would eventually sing. The first Schubert song, after all, was a true, historic recording (unidentified, infortunately). But the rest of the lieder were all rendered live, and Ms. Zukerman did them fine justice, displaying a full, buttery voice and stern dramatic focus…Ms. Zukerman's rendition of Offenbach's orchestration of Ständchen… she sang…lovingly. Gretchen am Spinnrade — orchestrated traditionally by Reger — was also fine.
Throughout these works, Ms. Zukerman traversed an enormous range of emotions, using her impulsive vocal talent to sell the works' narrative mood changes. At the tragic end of the devilish Der Erlkönig — orchestrated with Romantic fire by Berlioz — she broke a 45 over her knee. It was effective shtick.
The concert closed with Renderings…But to my mind the evening's bright spot had already passed."
—Adam Baer, The New York Sun
Franz Schubert: Unfinished/Refinished
Red (a boldly innovative, fascinating evening)
"...soprano Arianna Zukerman appeared on another platform, an imaginary room where she settled into an easy chair and took out an LP, which she subsequently placed on an old record player and ultimately smashed.
Seemingly lost in memory, she sang six of Schubert's most famous songs, including 'Ständchen,' 'Gretchen am Spinnrad,' 'Doppelgänger' and 'An die Musik.' Her big, warm voice soared easily over orchestrations of the composer's piano accompaniments by Offenbach, Reger, Berlioz and Red's own Sheffer. While she clearly elucidated the German poetry (which was translated in English supertitles behind the orchestra)..."
—Wilma Salisbury, Cleveland Plain Dealer
Seeing Red: The Experience @ Masonic Auditorium 10/23
Experiencing a performance of Red {an orchestra} is the musical equivalent of a full body massage: It soothes the aching soul, heals an otherwise dreary existence, and electrifies a murky mood. Last Saturday night, Red’s top-notch ensemble created contemporary masterpieces from Franz Schubert that were so invigorating, yet relaxing that the music eased into the auditory nerves in a wave of sheer pleasure. ...The intensity of Saturday evening’s performance elevated when soprano Arianna Zukerman took center stage. Her breathtaking performance and crystal clear voice reached deep into the soul.
—TL Champion, CoolCleveland.com
Red {October}
...Schubert: Unfinished/Refinished, as the October program was called, included performances of Berio's Sequenza XIV for Solo Cello and a group of six Schubert songs arranged into a miniature drama about a retired singer who survived tragic loss by clinging to her love for music...[conductor, Jonathan] Sheffer left a stamp on the proceedings, one that extended far beyond his efficient conducting style...Just as distinctive was Arianna Zukerman's performance of the songs. A soprano grounded in the operatic tradition, Zukerman was a credible actress who had no trouble filling the Masonic Auditorium, where The Cleveland Orchestra used to record, read with luminous sound. She sang about love and death from a tiny platform furnished with a table, chair, and record player. During one song’s emotional peak, she held up a photo of her beloved for the audience to see. Listening to her was to forget temporarily that perfect melodies exist which did not come from Schubert.
—Zachary Lewis, angle: a journal of arts and culture
Schumann and Fantasy at Festival in Santa Fe
"In a group of five Schumann songs...the soprano Arianna Zukerman...was strong, direct and sensitive."
—Anthony Tomassini, The New York Times
International Music Foundation Benefit Concert
IMF's anniversary concert in tune with group's goals
Presenting chamber and vocal music with the Vermeer Quartet were violinist and violist Pinchas Zukerman (who took time out from his Chicago Symphony duties to lend his star presence to a worthy cause) and his daughter, soprano Arianna Zukerman....Having the Zukerman father-and-daughter team on the same stage proved a rare treat, even if they only got to do one piece together. Fortunately it was a beaut—the aria "L'amero sarò costante," from Mozart's Il Re Pastore. With Kit Bridges on piano and her father playing the violin obbligato, Zukerman traced the cantilena sweetly, floated a supple Mozartean line and mustered rare dynamic finesse....The younger Zukerman also got to blend her pure yet luscious voice with the Vermeer's cushioning strings in Schubert's Salve Regina.
—John von Rhein, The Chicago Tribune, December 3, 2004
Promusica Chamber Orchestra
"Interspersed [between Brandenburg Concerti] were two additional talented guests, soprano Arianna Zukerman and trumpeter Jens Lindemann. Zukerman's operatic rendition of the Mozart Alleluia rightfully drew cheers; her pairing with Lindemann in the Bach Cantata No. 51 seemed an apt partnering of sizable artistic personalities.".
—Barbara Zuck, The Columbus Dispatch, 12/12/04 |
