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Garanca in Göttweig: Rich's voices speak of hope and confidence

Garanca in Göttweig: Rich’s voices speak of hope and confidence

And so the sympathetic star from Riga was able to move in a big way while Santoza was begging her to Toredo for his love. Arsen Soghomonyan was invited this year, with whom she sang the duet “No, No, Turiddu” from Pietro Mascani’s “Cavalleria Rusticana”. The Armenian was impressed with a wonderful, soft and beautiful moment, especially with the song “Mamma, quel vino è generoso” from this particular opera, but also with the catchy tune “Parliami d” amore, Mari by César Piccio.


Elena Garanca also showed her charmingly romantic side in “Belle nuit, o nuit d” amour”, the barcarol from “Hoffmanns Erzählungen” by Jacques Offenbach, which she and Celia Kostia invited, Riga’s favorite audience. For George Gregorio from her Romanian homeland and with lots of drama in Giuseppe Verdi’s “Aida”: “Ritorna vincitor!”


The only 23-year-old, with Styrian roots, this year’s winner of Garanca’s “ZukunftsStimmen” started with “I Got Plenty o’ Nuttin” by George Gershwin, got people to sit up and take notice.

Karel Marc Chichon, Garanca’s husband, on the stage of the well-prepared symphony orchestra at the Vienna Volkoper accompanied the Volkswagen with dedication. Under the slogan “Hope and Trust” he put together a diversified program.


Before and after the orchestra recorded by the most prominent orchestra: The famous “Can-Can” from Offenbach’s “Orpheus in the Underworld” sounded vibrant, like the tango “A fuego lento” by Horatio Salgan and Tchaikovsky’s “Swan Lake” waltz as some musicians excelled as soloists.

Finally, nearly 3,500 fans, one of whom was allowed to tap the full space again, including many celebrities from politics, business and media, to finish in a variety of hit songs (including “Granada”) sung by the three together and edited by Sishon Delage. . Atmospheric evenings concluded with Franz Lehar’s “Lips are silent..” “Lustiger Witwe”, “Non ti scordar di me” by Ernesto de Cortes and the obligatory “Ave Maria” in William Gomez’s edition.

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It was once again managed by Barbara Ritt in a charming and competent manner against the splendid backdrop of a magnificent Benedictine abbey, lit up in various colours.