Vivica Genoux - Queen of the Coloratura

"The mezzo-soprano Vivica Genaux was the very incarnation of Baroque sensuality in a dazzling program, in which the ensemble Concerto Köln supported her with panache." (review from an earlier concert)

The coloratura must be one of the most difficult vocal techniques to master in classical music. That is why it is a blessing to hear a superb coloratura singer, like the Alaskan born mezzo soprano Vivica Genaux.


Genoux´ baroque recital with the oustanding Concerto Köln at last year´s Schwetzinger Festival was  a joy to watch on the French-German ARTE channel and later again on the German SWR.

The "duo" with oboist Benoit Laurent was perfect in "Piange quel fonte"

Genoux´ interpretation of the great Händel aria "Sta nell´ Ircana" from the opera "Alcina" was without doubt one of the highligts of the evening. But at least for this viewer/listener the "Piange quel fonte" from Johann Adolf Hasse´s opera "Nuna Pompilio" was a revelation. 


Genoux´ voice is maybe not as velvety as the voices of some other leading mezzos, but she compensates by her flawless technical skill and ability to interpret.

The Concerto Köln and Vivica Genoux in the beautiful Schwitzingen rococo  theater.

Hasse is still perhaps not very wellknown internationally, but he wrote some beautiful tunes! And it turns out tha Vivica Genaux has a special affinity to Hasse´s music. This is what she said in an interview in MusicalCriticism.com:

“I’m a huge fan of Johann Adolph  Hasse’s music. Hasse was one of the most important international composers of the 1700’s along with Händel and Haydn, but for various reasons has had to wait a bit longer for a real revival. I’m doing my best to be a strong proponent of his music because while his music may not be as harmonically 
complex as Händel’s, he had a very special way of composing for the voice. Hasse’s music has a 
more open framework around the vocal line, meaning the voice has much more freedom with
rubato than one generally finds in either Händel or Haydn, where I often feel the voice is treated 
more like an instrument. With Hasse, I really feel like I’m breathing with the music, and the vocal 
line is free to undulate, stretch, punctuate, or stab according to what the text and emotion require.”