The absence of an audience created no obstacle for Erraught

Naturally, most of the programme was chosen to showcase Erraught’s skills, which are manifold. She performed six bel canto arias, two from Bellini first, and four from Rossini. The absence of an audience created no obstacle for Erraught, who showed marvellous tone control in the slow opening of ‘Se Romeo t’uccise un figlio’ from Bellini’s I Capuleti e i Montecchi, before dancing through the later, quicker passages. She created a beautiful, gentle atmosphere in the same composer’s ‘Dopo l’uscoro nembo’ from the Irish-themed opera Adelson e Salvini.

Rossini is Erraught’s particular field of expertise, and her affinity for his music runs deep. In ’Ah se è ver’, an aria from The Barber of Seville added to the opera three years after its original composition and rarely performed today, she demonstrated great dynamic and tonal range, with agile ornamentation and a rich sound in the slower passages. Her passion and physical performance were evident throughout the concert, but no more than in her soulful rendition of Rossini’s ‘Assisa a’ piè d’un salice’ from Otello; at the end she seemed close to real tears. From Semiramide, her ‘Bel Reggio lusinghier’ showed a brighter sound, and the close of ‘La Donna del Lago’ gave a powerful conclusion to the concert.



Brendan FinanThe journal of music