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Elena Gabouri mezzo-soprano |
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Australian debut 2018 "Having graced the international stage since
2012, mezzo-soprano Elena Gabouri makes her impressive Sydney Opera House debut
as Egyptian princess Amneris to a glowing reception from the local
audience."
"...Gabouri
gleamed as she settled into the role - a gutsy performer with an empowering
stage presence - making the most of her costume."
"Elena Gabouri is every bit as bold – and
loud – as Amneris. Not only does she know how to swish a cape with all the
flair of Gloria Swanson, she’s an absolute firecracker of a singer, with plenty
of gutsy chest tones fleshing out the character."
Amneris (there’s always at least one villain) is
sung to perfection by Russian Mezzo Elena Gabouri."
"...mezzo soprano Elena Gabouri’s expressive,
richly coloured timbre was ideally suited to her role."
"Completing the love triangle, Elena Gabouri
was a truly wonderful Amneris, the fickle jealous Egyptian princess. With a
massive voice, she can exert the force and power needed for the role, but her
voice also expresses genuine pathos and beauty when needed. Her singing of the
trial scene was spectacular, with all the fury and passion that one could hope
for – and more."
"...She had a worthy adversary in Russian
born contralto, Elena Gabouri, as Amneris, who displayed her arresting lower
register to great effect, firstly raging at Aida when she admitted her love of
Radames, then more tenderly in the final moments, high above the stage,
reflecting on the fate of the doomed lovers."
"New to the company, Elena Gabouri, as
Amneris, princess of Egypt, was in blazing form – quite magnificent in her long
duet with Radamès and the scene that follows, when the priests condemn him to
death by entombment. This was fearless singing, brilliantly enacted."
"Opera Australia imported international stars
for the three key roles. (...)
"Russian mezzo soprano Elena Gabouri is
equally as commanding as the Egyptian princess Amneris."
"Elena Gabouri was a strong Amneris. The
voice is also large, a dark roiling mezzo with rich, plummy Italianate sound.
Her Act 4 was full of power and passion, riding the orchestration with enormous
weight as she begs for Radames' love and curses the priesthood.
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