MP3 Deborah Domanski - Arias & Songs
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15 MP3 Songs in this album (58:04) !
Related styles: Classical: Arias, Classical: Art songs, Type: Vocal
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âMagnificent!â Thatâs the word former General Director Richard Gaddes used to describe Deborah Domanskiâs performance in the role of Zenobia in the Santa Fe Operaâs 2008 Season production of Radamisto.
D.S. Crafts, reviewer for The Albuquerque Journal wrote, âDeborah Domanski as Radamistoâs wife Zenobia exudes sensuality both in voice and stage presence. Her clear, focused and radiant mezzo-soprano illuminates both her enthusiastic acceptance of death âSon contenta di morireâ and her tender plea âQuando maiâ (When cruel destiny). She and David Daniels are later reunited in a sparkling duet.â
Prior to her triumph as Zenobia, Deborah sang the role of Signora Guidotti in the Santa Fe Opera pre-season one-hour production of Nino Rotaâs The Timid Twosome. Other engagements include the role of Lazuli in LâEtoile with Austin Lyric Opera in early 2010, the title role of La Cenerentola with Opera Southwest in October 2009, Prince Orlovsky in Die Fledermaus with Opera Southwest, the pants role of Jack in the American premier of Dame Ethel Smythâs The Wreckers performed with the American Symphony Orchestra at Avery Fisher Hall â Lincoln Center, Mezzo-Soprano soloist with the Columbia Pro Cantare in Handelâs Messiah, and Cherubino in Le Nozze de Figaro with Opera Southwest. Deborah also recently debuted with Opera Hong Kong & The Hong Kong Philharmonic, Utah Symphony and performed benefit recitals for Opera Santa Barbara and Opera Southwest.
In April of 2006 Tulsa World Opera Critic James D. Watts proclaimed âDomanski may be the best Cherubino weâve seen,â after Deborah debuted in Le Nozze de Figaro with the Tulsa Opera. Deborah Domanski brings an extraordinary combination of scintillating musicality and captivating stage-presence to all her roles, including the title role of LâEnfant in LâEnfant et les Sortileges, Zerlina in Don Giovanni, Nancy in Albert Herring, Rosina in Il Barbiere di Siviglia, Minerva in Monteverdiâs Il ritorno dâUlisse in patria, Miss Jessel in Turn of the Screw, Sally Follett in the New York premier of A Death in the Family by William Mayer, and Aphrodite in the world premier of Paris and Oenone by Philip Hagemann. At Pittsburgh Opera, Deborah performed the roles of Nireno in Handelâs Giulio Cesare, Flora in La Traviata, Cherubino in Le Nozze di Figaro (matinee), Siebel in Faust (matinee), and was responsible for the roles of Rosina, Cesare, and Mercedes.
During the 2002-2003 season, Deborah made her Los Angeles Philharmonic debut under Maestro Esa-Pekka Salonen as the Alto Soloist in Mozartâs Requiem. Among other solo concert engagements, she has performed with the Laredo Symphony as alto soloist in Beethovenâs 9th, the Greenwich Choral Societyâs performance of Rossiniâs Petit Messe Solenelle, and with The Juilliard Choral Union in Vivaldiâs Gloria in Alice Tully Hall. As a Young Artist in the Juilliard Opera Center she was a participant in the prestigious 2002 Juilliard Vocal Arts Honors Recital in Alice Tully Hall. As the 2002 competition winner at the Music Academy of the West, Miss Domanski became the Marilyn Horne Foundation Awardee and was presented in recital, and on national radio and in World Wide Web broadcast in October 2002. January 2005, Deborah made her Weill Concert Hall debut as part of the Horne Foundationâs The Song Continuesâ¦ recital series at Carnegie Hall. She maintains her passion for the art of song recital and presents concerts and education programs around the world. In 2007, Deborah presented a recital in Delhi, India entitled Shaping the Invisible: Leonardo da Vinciâs Principles in Song. After completing two years with the Pittsburgh Operaâs Young Artist Program, Deborah spent the summers of 2005 & 2006 with the Santa Fe Opera Apprentice Program, where her responsibilities included performing Mercedes in Carmen and covering Susan Graham in the role of Cecilio in Mozartâs Lucio Silla.
Deborah Domanskiâs education includes a Bachelor of Music, Cum Laude, from Chapman University in California, a Master of Music from Manhattan School of Music, and an Artist Diploma from The Juilliard School â Juilliard Opera Center.
ROBERT TWETEN - PIANIST began his career as a piano soloist after receiving his Associate of Arts Degree from the Victoria Conservatory of Music and winning competitions including the Du Maurier Search for Stars and the Canadian National Piano Competition. A gifted recitalist and conductor, Robert has performed with many great singers including Lorraine Hunt Lieberson, Elizabeth Futral, Catherine Malfitano, Samuel Ramey, Gregory Turay, and Suzanne Mentzer in venues such as Alice Tully Hall at New Yorkâs Lincoln Center, Chicagoâs Orchestra Hall, the Santa Fe Chamber Music Festival, Torontoâs Ford Center, Los Angelesâ Disney Hall, Barcelonaâs Gran Teatre del Liceu, La Monnaie in Brussels, the Zurich Opera House, Viennaâs Konzerthaus, Londonâs Wigmore Hall, and the Salzburg Festival. Robert serves as assistant conductor for the Lyric Opera of Chicago and as head of the music staff at the Santa Fe Opera.
Reviews for Deborah Domanski
Santa Fe Opera â Zenobia, Radamisto
Handel, Faithlessness and Devotionâ¦ The lovely mezzo-soprano Deborah Domanski (replacing Christine Rice, who withdrew from the production because of illness) sings the courageous Zenobia with luscious sound and lyrical refinement.
Anthony Tommasini, New York Times, Monday, August 4, 2008.
Radamisto, Santa Fe Operaâ¦ Zenobiaâs fidelity to Radamisto has a fiery side, especially when she struggles to rebuff Tiridate, and Deborah Domanskiâs fine lyric soprano conveys it excitingly. Her silky, bare-midriff costume bespeaks a sexiness that explains her appeal to Tiridate.
George Loomis, Financial Times, Wednesday, August 6, 2008.
Santa Fe Opera: Radamistoâ¦ A late change to the cast, Deborah Domanski as Radamistoâs wife Zenobia exudes sensuality both in voice and stage presence. Her clear, focused and radiant mezzo-soprano illuminates both her enthusiastic acceptance of death âSon contenta di morireâ and her tender plea âQuando maiâ (When cruel destiny). She and David Daniels are later reunited in a sparkling duet.
D.S. Crafts, The Albuquerque Journal, Monday, July 21 2008.
Radamisto, Santa Fe Operaâ¦ Deborah Domanski, who took over the role of Zenobia from Christine Rice, sang with artful coloratura phrasing and looked enchanting in an open midriff costume that few other singers would dare.
Maria Nockin, Music & Vision Magazine, Sunday, August 17, 2008
Bizarro Handel plot mended by stylish staging, glorious singingâ¦ As well as displaying great abs, Deborah Domanski showed a burnished flexible mezzo as Zenobia, handling the brilliant passages as well as the legato with equal panache.â
Lawrence A. Johnson, South Florida Classical Review, Saturday, August 09, 2008
Handelâs Radamisto at Santa Fe Operaâ¦ Mezzo soprano Deborah Domanski, an alluring and wonderfully talented SFO apprentice singer, has been doing the role of Zenobia, Radamistoâs wife (replacing mezzo Christine Rice), and she is an amazing creature. Singing in the sweetest of tones and with meticulous style, she simultaneously exemplifies the ideal Oriental maiden with colorful spangles and a bare midriff.
David Gregson, Opera West, Monday August 11, 2008
Austin Lyric Opera â Lazuli, LâEtoile
Madcap fun and musical charm in Chabrierâs âThe Starââ¦ Mezzo-soprano Deborah Domanski brings a luscious voice, vivacious presence and miraculously flexible body (Gumby has nothing on her) to the pants role of Lazuli.
Mike Greenburg, Incident Light, Tuesday, February 2, 2010.
Arts Review: The Star (LâEtoile)â¦ Mezzo Deborah Domanski evokes Lazuliâs raffishness and boyishness with enthusiasm.
Robert Faires, The Austin Chronicle, Thursday, February 4, 2010
Review: Austin Lyric Operaâs âThe Starââ¦ Domanski did well in the classic trouser role, all gangly moves capped by a sweet tone. - Jeanne Claire van Ryzin, Austin American Statesman, Monday, February 1, 2010.
Opera Southwest â Angelina, La Cenerentola
High Note for La Cenerentolaâ¦ Here she gives her most impressive performance to date, bringing a rich texture to the full range that this part demands. She leaps through the vocal hurdles of the final aria Nacqui allâaffanno (âI was born to sorrowâ) with an ease born of the most accomplished technique.
D.S. Crafts, Albuquerque Journal, Tuesday, October 06, 2009
Opera Southwest â Prince Orlofsky, Die Fledermaus
Review: Die Fledermausâ¦ Deborah Domanski, who made such an impression this summer in Santa Feâs Radamisto, appears in the ultimate comic trouser role, the Russian Prince Orlofsky. She/he conveys in gorgeous tones the spirit of the entire operetta in the famous aria Chacun á son gout (Whatever you like), a toast to champagne among the many pleasures of life.
D.S. Crafts, Albuquerque Journal, Monday, October 06, 2008
Opera Southwest â Cherubino, Le Nozze di Figaro
Review: Opera Southwestâ¦ Deborah Domanski as Cherubino, is outstanding in this âtrouser roleâ. Playing a teenage boy full of overly-amorous spirit, she captures the character perfectly with a sweet, yet vibrantly captivating soprano. In the confessional Non so piu (I no longer know) she/he tells of exploding adolescent hormones, cast of course in 18th century language. She graces Voi che sapete (You who know what love is) with delightfully surprising ornaments in the repeat.
D.S. Crafts, Albuquerque Journal, Monday, 15 October 2007
Tulsa Opera â Cherubino, Le Nozze di Figaro
The things we do for love, âThe Marriage of Figaroâ sings with comic brillianceâ¦ Domanski may be the best Cherubino weâve seen. She perfectly captures the spirit of a hormone-crazed young fellow so in love with love he canât do anything right. The dressing-up scene is a hoot as Cherubino plays at being a woman. But Domanski also delivers vocally, with fine performances of âVoi, che sapeteâ and âNon so piu cosa son.â
James D. Watts Jr., Tulsa World, Monday April 24, 2006.
Ashlawn-Highland Festival â Rosina, The Barber of Seville
âBarberâ: Shear romanceâ¦She [Deborah Domanski] has a beautiful voice that can handle all the ornamentation that Rossini throws her way, plus the no-nonsense, full-throttle, no-holds-barred, magnificent, full out voice that he expects. She is truly a feast for the eyes.
Eleanor Tudor, The Daily Progress, Tuesday, July 27, 2004.
Pittsburgh Opera Center â Minerva, Il ritorno dâUlisse in patria
Opera Center delivers superb production of âReturn of Ulyssesââ¦ Deborah Domanski was spectacular as Minerva, bounding over the composerâs arpeggios to brilliant, open high notes.
Steven Singer, Pittsburgh City Paper, Wednesday, May 5, 2004.
Pittsburgh Opera Center â Erika, Vanessa (Scenes)
Opera Singers provide intriguing mix in âSamplerââ¦ Mezzo-soprano Deborah Domanski sang a flawless rendition of âMust the Winter Come So Soon?â from Barberâs Vanessa. Her voice was rich, smooth and balanced, her technique rock-solid and every syllable clearly projected.
Eric Haines, Pittsburgh Post-Gazette, Saturday, January 31, 2004.
Music Academy of the West â Cherubino, Le Nozze di Figaro
The Marriage of Figaro, a musical bliss from beginning to endâ¦Mezzo-soprano Deborah Domanski sang and acted the boyish role of Cherubino with joyous abandon, perfectly embodying the sexual ambiguities and loveâs angst of the role. Her singing was unfailingly musical in the two newly-embellished numbers for Cherubino, âNon so piuâ and âVoi che sapete.â
Truman C. Wang, Classical https://www.tradebit.com, Sunday Aug 10, 2003.
Figaroâs weddingâ¦Deborah Domanski fully inhabited the spirit and song of Cherubino, which is saying something. Not only was she convincing as a boy, but utterly believable as the adolescent who has discovered that all women are magic. Her foolishness was character-driven, her comic bits the natural extension of ardent and effervescent youth. We cared about her plight and her happiness.
Peter Frisch, Santa Barbara News-Press, Wednesday, August 13, 2003.
Juilliard Opera Center â Zerlina, Don Giovanni
Deborah Domanskiâs Zerlina was a total delight, visually & vocally
Glenn Lonely, New York Theater Wire, May 10, 2003.
Los Angeles Philharmonic â Alto Soloist, Mozartâs Requiem
Cathedral: 3,000 Attend Philharmonic Concertâ¦ Four promising young singers â â¦Deborah Domanski â were the vocal soloists.
Daniel Cariaga, Los Angeles Times, Monday, September 30, 2002.
Music Academy of the West â Nancy, Albert Herring
âAlbert Herringâ Finds a Youthful Voiceâ¦The richest, most promising voices of the cast belong toâ¦ Deborah Domanski (Nancy)â¦, all of whom deliver their words with admirable clarity and sung with ardor.
Daniel Cariaga, Los Angeles Times, Monday, August 12, 2002.
Santa Barbara, Californiaâ¦ Nancy was the lovely mezzo-soprano Deborah Domanski, who shone vocally and looked adorable in the part of a village sweetheart.
Carl Byron, Opera News, November 2002. Vol. 67, No. 5.
Manhattan School of Music â Aphrodite, Paris and Oenone
New Yorkâ¦Of special note was Deborah Domanski, a knock-out Aphrodite.
Donald Westwood, Opera News, May 1999.
Music Review; 2 Operas Have Some Funâ¦ Deborah Domanski (Aphrodite) â sang alluringly as a trio and individually.
Allan Kozinn, New York Times, January 13, 1999.
The Hindu, India Friday January 19, 2007
She destroys the stereotypes of opera singersâ¦
Read Full Press Piece
The Albuquerque Journal
Major Solo Role Goes To Opera Apprentice
Sunday, July 6, 2008
by Kathaleen Roberts, Journal Santa Fe
Original lead in âRadamistoâ withdrew for health reasons
Deborah Domanskiâs dreams came true next to some cantina trash cans in the shadows of the Sangre de Cristos.
Last week, Santa Fe Opera conductor Harry Bicket and general director Richard Gaddes chose the 33-yearold Santa Fe resident to ascend to the principal role of Zenobia in Handelâs âRadamisto.â
Domanski will replace Christine Rice, who withdrew because of health issues. The opera opens July 19.
Domanski worked as an apprentice during the operaâs 2005-06 season. She had been tapped as Riceâs âcoverâ â opera-speak for understudy â but was untried as a major role soloist. She knew something was up when Bicket began marking up his score according to her breaths and musical ornaments during what she assumed was a coaching session.
âI thought this was really weird,â she said. âIt was actually an audition, which was a good thing. If Iâd known, Iâd have been a nervous wreck.â
She grew especially suspicious when both Gaddes and Bicket asked her to meet them at the cantina.
âThey said, âWeâve got good news and bad news. The good news is we want you to do the role. The bad news is we want you to do the role.â
âI started squealing,â Domanski said. âThen I regained my composure and I said, âThank you very much.â I called my husband. I called my dad. I called my sister. I called my aunt. I sent out an e-mail.â
The Cinderella scene was radically different from her first summer at Santa Fe. Overwhelmed by the pressures and brutal hours of mastering five operas, she says she had a breakdown.
âMy first year was insane,â she said. âIt was a huge learning experience, and it was also extremely tortuous. I had the one and only nervous breakdown of my entire life.â
Apprentices attend daily rehearsals that often linger until 1 a.m. or longer. Domanski began her days by warming up her voice at 7 a.m. The season included âAinadamar,â directed by Peter Sellars, renowned for his modern stagings of classical operas. The title means âfountain of tearsâ in Arabic; the production is a boiling cauldron of emotion and dark passions set during the Spanish revolution. Like any good director, Sellars pushed his singers to fully express the resulting anguish, rage and grief. Domanski finally collapsed.
âI literally sat on that curb and couldnât move a muscle,â she said. âI looked at my arm, and I literally couldnât move it. I literally cried for the next three hours.â
She slept for an hour, then returned to perform in âLucio Silla.â
âWhen youâre an apprentice here, youâre proving yourself every single day,â she explained. âYou cannot let on weakness. Youâre hoping to be the next star of the show.â
Domanski was an easy choice for the rarely performed âRadamistoâ because she had been working on the score since last November.
âIf it was â(The Marriage of ) Figaro,â one could find a million Susannas because itâs done all over the world,â Bicket said. âDeborah was wonderful to have because she was already studying it. (She has) a strong, beautiful, warm voice, and itâs got a lot of color in it. In a big role like this, you need someone with a lot of character to bring these long arias to life.â
Domanski sings five arias, a duet, a quartet, the final chorus and âabout six million recitatives.â
âThese are real Everests of the singing repertoire,â Bicket said. âHandel exposes the voice like no one else. Thereâs no cushioning, very often (youâre) just alone with a violin. You can fall off a cliff. But sheâs been wonderful. Sheâs not as experienced as the others, but you wouldnât know it from the way she performs.â
Domanski is one of 13 former apprentices to land principle roles this year under Gaddesâ direction , SFO spokeswoman Cindy Layman said.
After her tumultuous apprentice season, Domanski made her debut with the Tulsa Opera as Cherubino in âThe Marriage of Figaro,â which earned rave reviews. She returned to Santa Fe as Mercedes in last yearâs âCarmen.â Later, she sang with the American Symphony Orchestra at New Yorkâs Avery Fisher Hall and in Southwest Operaâs production of âFigaroâ in Albuquerque.
First performed in 1720, âRadamistoâ is the story of Zenobia and her husband, Radamisto, heir to the Thracian throne. The Armenian King Tiridate goes to war hoping to possess Zenobia. But she remains faithful to her husband.
âShe is a very, very strong woman,â Domanski said. âShe has more fire in her than anybody in the whole opera. She gets captured by the tyrant (king). For the rest of the opera, Iâm being seduced by the tyrant king and nearly raped in two different scenes. But she has so much strength and fire in her, she resists.â
Domanski grew up near San Diego, where she sang in school choruses and choirs. She later studied at both the Manhattan School of Music and at Juliard. She never considered doing anything else.
âItâs like a snowball,â she said. âPeople ask me how I got into singing opera. I donât know; it just got into me. My voice has a mind of its own.â
This time, she envisions no breakdowns. Her voice changed when she turned 30, growing fuller and richer, she said. Sheâs developed a solid technique.
âIâm only doing one opera,â she said. âWhen youâre an apprentice, you learn five. Just being given an opportunity like this â living up to and exceeding everyoneâs expectations. Iâm getting really great feedback, so that gives you a great amount of confidence.â
An admitted perfectionist, she mulls over the Italian score during breaks in the cantina, digesting everyone elseâs parts as well as her own.
âThereâs always something more you can learn from the score,â she said. âIâm seeing what my colleagues are singing so I know exactly what theyâre singing about.
âThe hard part is being in the right place at the right time,â she added. âIâve been hoping for this all my life.â
The Albuquerque Journal
grown-up fairy tale
Sunday, September 27, 2009
By David Steinberg
Cinderella is a classic fairy tale that has crossed cultures. One of the earliest versions supposedly goes back to ancient Greece.
Not surprisingly, the subject has been transformed to the opera stage in the form of Gioachino Rossiniâs popular âLa Cenerentola,â which premiered in 1817.
Opera Southwest will give it three performances at the KiMo Theatre Saturday, Oct. 3, and Oct. 9 and 11.
But the Rossini opera is aimed at all ages. Itâs not a childrenâs opera. âItâs the same story, but a little more mature,â said David Bartholomew, stage director of the production and artistic director of the company.
Except for the title character, whose name is Angelina, the prince, who is Don Ramiro, and the virtuoso singers, the characters in the small cast are comical, Bartholomew said. He thinks of the opera as being closer to a romantic comedy than to a fairy tale.
Mezzo-soprano Deborah Domanski, who sings the title role, is the reason why Opera Southwest chose to do this opera, Bartholomew said. â(Music director) Tony Barrese and I talked about her doing a âCenerentolaâ for us, with her skills â¦ primarily vocal skills. It calls for a mezzo-soprano voice with a lot of agility, fast singing and high singing all over the range,â the stage director said.
âThatâs Deborahâs strong point â having that kind of coloratura voice.â
Bartholomew said there were other factors in choosing Domanski: Sheâs a New Mexico singer, sheâs performed in two previous Opera Southwest productions and she had stepped in at the last minute in the role of Zenobia in the 2008 Santa Fe Opera production of âRadamisto.â
âShe had wonderful reviews, and the response to her performance was very good. On the scale that the Santa Fe Opera is, it was quite a coup for a younger singer,â he said.
Domanski said sheâs been waiting to sing âLa Cenerentolaâ until her voice has matured to fit the role.
âThe final aria (âNacqui allâaffanno â¦ Non piu mestaâ) is one of the great mezzo-soprano feats that is in all opera, and probably one of the most difficult arias in the mezzo-soprano repertoire,â she said in a phone interview from her Santa Fe home.
In the aria, Domanski said, her character sings of being âborn to woe and weeping. Through some sweet, enchantinglike flash of lightning, my luck has changed.â
She wants to portray her character not as a person who deserves sympathy, but something different. Dramatically, she said, sympathy goes only so far and then it gets boring.
âSheâs so charming, so cool, so funny, and she has all this fast coloratura,â Domanski said. âSomeone depressed, downtrodden wouldnât sing anything like that. Sheâs a very loving person. Thatâs why the prince is drawn to her.â
The operaâs subtitle happens to be âGoodness Triumphant.â
Among the other singers in the production are Andrew Drost as Don Ramiro, Stephen Eisenhard as the stepfather Don Magnifico and Moira Kelley as Clorinda and Andrea Kiesling as Tisbe, the two stepsisters.
Bartholomew said the Opera Southwest is re-imagining its production theatrically and visually by turning the KiMo stage into a Victorian toy theater. An English family parlor entertainment, the toy theater represented a grand theater, he said.
âItâs a wonderful theatrical, operatic devise that adds another dimension,â he said. âItâs the perfectly scaled piece for all the forces of Opera Southwest, the principal of which is the intimacy of the KiMo.â
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