Page 259 - Royal Liverpool Philharmonic Coverage Book 2023-24

well during the pleas in her encore, ‘O Mio Babbino Caro’, which
could have benefited from a more bell-like tone.

Massi was a powerhouse, never struggling to find or reach a note.
Particular mention must go to his encore of ‘Nessun Dorma’ –
following his climactic high note, the audience burst into applause
while the orchestra played through the final triumphant notes of the
piece.

There was a beautiful fluidity between the orchestra and the singers,
with Yoncheva and Massi’s performances straddling their fictional
operatic worlds and the realism of the stage: both used the
conductor’s podium to lean against throughout the show; Yoncheva
gently blew flower petals into Domingo Hindoyan’s face in the first
act, and later refused Massi’s advances by gesturing to the orchestra
to indicate that they had company. The conductor was instrumental
in this weaving of worlds, acting as the conduit through which the
singers and orchestra flowed, met and parted.

During the final bows, Yoncheva was presented with a bunch of
flowers by an audience member – she accepted with grace before
presenting Massi with a small sprig, and giving a red rose each to the
conductor and to the lead violinist. It was a fittingly theatrical note on
which to end an emotional and delightfully dramatic performance.