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I’d like to think that Pretty Yende’s Dreams signifies a return to gentler climes, and indeed musically it is infinitely more approachable. But I’m not sure that Donizetti’s Lucia, Bellini’s Alaide (Straniera) and somnambulistic Amina, and Meyerbeer’s Dinorah are anything but victims of patriarchal constraint, thoughtlessly or brutally driven to madness. South African Yende has a delicious instrument, with a youthful quiver of passion to it, and a wonderfully secure technique. She has a tendency perhaps to embellish for its own sake – I yield to none in my admiration of vocal pyrotechnics – but sometimes it comes across as showy rather than dramatically driven. Yet she can certainly deliver the goods, with some wonderful acuti thrown in too.

Francis Muzzu Read the full review on Agora Classica


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