Diana Alexe

“A true Violetta Valery after quite some time”: Diana Alexe outstanding Violetta in Cluj-Napoca

Two endless standing ovations crowned the two performance of La Traviata at the Opera Națională Română of Cluj-Napoca starring Diana Alexe as guest star. Alexe performed the role in which Virginia Zeani – whose 100th Anniversary the opera world is celebrating – triumphed on the Cluj stage in 1965, being praised by critics as “a true Violetta Valery after quite some time”.
Her voice reminded me of those great sopranos of the past, combining perfect technique with natural qualities that revealed a special radiance in a full, rounded tone, on its way toward a beautiful maturity. What I particularly appreciated was the ease with which Diana Alexe approached this role, succeeding in portraying all three registers that Verdi dedicated to this complex character – the coloratura of the first act, the drama of the second, and the lyricism of the final one.
A splendid ‘E strano, e strano…’ delivered with great delicacy and sensitivity, followed by a ‘Follie, follie’ cabaletta full of color and youthful ardor, formed a hypnotic closing of the first act. Then, the impeccable phrasing during the duet with Germont, the expressive strength of the dramatic Amami, Alfredo, and the refinement of the lines in the second act’s finale continued to highlight the indisputable vocal qualities of Diana Alexe. Finally, the well-measured interpretation of the letter scene ‘Teneste la promessa’, followed by a heartbreaking vocal and dramatic interpretation of the superb aria ‘Addio del passato’—in which one could feel all the suffering of the woman in love, ill, and abandoned—culminated with the final lines, forming a beautiful artistic crown for an evening in which the young and very talented Romanian soprano performed exemplarily, both musically and scenically”.

review by Tudor Sicomas on Republika Kritika

❝ The young Romanian soprano Diana Alexe can rely on a precious voice of soprano lirico, lirico-leggero, perfectly suited to the character and its vocal needs. She is supported by a careful and refined vocal line which reveals a natural musicality, that she tastefully cultivated thanks to a singing great school. She can shine in ‘Caro nome’, where she easily solves all the virtuosic passages and then she unleashes, as it should be, a greater lyrical projection of sound in ‘Tutte le feste al tempio’ and in the final duet of the opera. ❞
𝐆𝐢𝐚𝐧𝐜𝐚𝐫𝐥𝐨 𝐋𝐚𝐧𝐝𝐢𝐧𝐢, 𝑳’𝑶𝒑𝒆𝒓𝒂 – 𝑰𝒏𝒕𝒆𝒓𝒏𝒂𝒕𝒊𝒐𝒏𝒂𝒍 𝑴𝒂𝒈𝒂𝒛𝒊𝒏𝒆