SOFIA, 15 July, by Ivan Varbanov, Journalist
The amazing Gergana Rusekova as Santuzza in Mascagni's Cavalleria rusticana, part of the "Opera on the Square" festival today, July 15th.A beautiful, resonant, and voluminous voice that soared effortlessly, perfectly filling the entire open-air space in front of the St. Alexander Nevsky Cathedral. Flawless phrasing, beautifully sculpted tones, and seamless bel canto transitions. Her singing was deeply emotional and impactful, showcasing superb control and masterful balancing of extreme dynamics, from pianissimo to fortissimo and forza. Tenderness combined with high drama. She commands the stage with a personal artistic aura that compels the audience to follow her every action, gesture, and detail.Gergana Rusekova sang with all the warmth and despair of her character. It felt as though she was 100% immersed in every emotional nuance of Santuzza's dramatic narrative, yet simultaneously maintained a subtle, masterly detachment to control her phonation, vocalization, balance, and registers. She perfectly modulated her vocal projection against the orchestra and the demands of the maestro at the podium — the uncompromising Daniel Oren. He led every single note of Cavalleria rusticana with passion and fervor, electrifying the musicians, singers, and the audience with his absolute dedication and perfectionism in interpreting the musical score.Gergana conveyed everything her character holds — the love, the tragedy, and the jealousy. Her vocal portrayal was built, executed, and brought to life with deeply impressive precision, musical intelligence, class, and sheer beauty.Heartfelt congratulations and utmost respect!
The amazing Gergana Rusekova as Santuzza in Mascagni's Cavalleria rusticana, part of the "Opera on the Square" festival today, July 15th.A beautiful, resonant, and voluminous voice that soared effortlessly, perfectly filling the entire open-air space in front of the St. Alexander Nevsky Cathedral. Flawless phrasing, beautifully sculpted tones, and seamless bel canto transitions. Her singing was deeply emotional and impactful, showcasing superb control and masterful balancing of extreme dynamics, from pianissimo to fortissimo and forza. Tenderness combined with high drama. She commands the stage with a personal artistic aura that compels the audience to follow her every action, gesture, and detail.Gergana Rusekova sang with all the warmth and despair of her character. It felt as though she was 100% immersed in every emotional nuance of Santuzza's dramatic narrative, yet simultaneously maintained a subtle, masterly detachment to control her phonation, vocalization, balance, and registers. She perfectly modulated her vocal projection against the orchestra and the demands of the maestro at the podium — the uncompromising Daniel Oren. He led every single note of Cavalleria rusticana with passion and fervor, electrifying the musicians, singers, and the audience with his absolute dedication and perfectionism in interpreting the musical score.Gergana conveyed everything her character holds — the love, the tragedy, and the jealousy. Her vocal portrayal was built, executed, and brought to life with deeply impressive precision, musical intelligence, class, and sheer beauty.Heartfelt congratulations and utmost respect!
Vesela Yaneva, making her debut as Mamma Lucia, sang with such confidence and stability that I found myself double-checking several times whether she was a guest Italian singer from Daniel Oren’s team or our own Vesela Yaneva. Her sound was piercing, well-supported, and forward-focused; from her very first phrases, there was absolutely no doubt that her voice would carry effortlessly across the open-air space. Convincing, indeed! That is the most accurate description of her performance. Her impactful delivery demonstrated both vocal maturity and deep psychological insight. Vesela delivered a truly authentic and organic portrayal of the suffering mother, capturing her pain and resignation to fate.I believe her stage movement could incorporate a portrayal closer to the character's actual age—reflecting the fatigue, the burden, and the physical weight of time. At moments, her Mamma Lucia appeared somewhat too vibrant and energetic. However, this remains a subjective judgment—shared between the audience and the performer—regarding where and how to strike the right balance. An excellent performance by Vesela Yaneva. Congratulations!
Roman Burdenko was a magnificent Alfio and a brilliant Tonio in Pagliacci. A voluminous, fresh, and richly timbered baritone, he sings without any strain or forcing. His flawless technique allows him to soar through his vocal registers without losing color or projection, never causing the listener the slightest sense of tension. A classy singer, he exuded absolute freedom on stage and an effortless delivery. He is a dramatic baritone of the modern operatic stage, yet without any hysteria, oversinging, or artificial swelling of the tone and projection. This is a massive asset for him—the natural ease and freedom that flow from him when delivering his vocal parts. He sang with a supple vocal line, never breaking character during register transitions; instead, he seemed to seamlessly layer and shift his breath support to ascend to the absolute heights of his upper register. The conclusion of the famous Prologue in Pagliacci—featuring the high A-flat (A♭4) so eagerly awaited by the audience (a traditional addition, though not written by composer Ruggero Leoncavallo in the original score)—sounded powerful, clear, and absolutely free, without any vocal strain. An exceptional, top-tier professional who is destined for even greater success worldwide.Deep gratitude to all the soloists on stage, the chorus, the orchestra, and the technical crew for the musical feast they gifted us. Stars under the stars in a magical opera night—an extraordinary and unforgettable experience for both performers and audience alike.
/The News BG Reporter, by Ivan Varbanov/
/The News BG Reporter, by Ivan Varbanov/
