Artist description Dramatic soprano JOANNA PORACKOVA, who makes her debut with the Washington Opera in January 2000 in the lead role (Magda) of Gian Carlo Menotti's "The Consul" under the direction of the composer, has been lauded by Opera News, the New York Times, the American Record Guide, and the Boston Globe as one of the most thrilling new talents on the operatic scene. She makes her recording debut with the celebrated pianist Dag Achatz on the Americus label in 2001 in a program of works devoted to Rachmaninoff and Medtner. Ms. Porackova and Mr. Achatz perform some of these works in concert, and it is these live performances, recorded in Boston in October, 2000,which are featured here on MP3. co

Music Style Classical/opera

Musical Influences Verdi, Bellini, Puccini, Rachmaninoff, Medtner

Artist History In her 1997 Jordan Hall (Boston) debut in the role of Norma, The Boston Globe described Joanna Porackova as a "mythic soprano" with "heroic declamation, suave cantilena, delicate fioritura, a huge vocal and emotional range, a poet's feeling for the nuance, and the staying power of a triathelete?sending the audience into frenzies with her melting cadenzas, impassioned recitatives and floating high notes." Opera News said her Norma demonstrated "fine bel canto style, passion, color and phrasing." She also won critical acclaim from the New York Times as "the most stageworthy in the cast and her soprano blossomed throughout the evening," for her performances as Anaide to Jerome Hines's Mose in Rossini's rarely performed Mose in Egitto at Alice Tully Hall in New York's Lincoln Center. The Boston Globe headlined "Porackova distinguishes Bel Canto Aida " after her 1998 performance in the title role and went on to describe her as "a compellingly intense actress [who] delivers the text with the kind of emotion that arouses the passions of the public?[she] knows the style and how to maneuver her own impressive instrument through it securely while providing a perched true pianissimo." In March 1999 Opera News again offered praise, writing: "Traditionally a mezzo role, Marfa requires a special kind of singer whose vocal endurance is matched by an ability to fathom the character's complexity. The stunning American dramatic soprano Joanna Porackova?may be the best possible casting at the moment". And in January 1999, the American Record Guide, lauded her as "that absolutely phenomenal dramatic soprano". Ms. Porackova first came to the attention of the opera world in her debut with Connecticut Opera performing the title role in Verdi's Aida. This led to an engagement for the same role at the Seattle Opera. Ms. Porackova sang Lady Macbeth in Verdi's Macbeth at the Lewis Abromo Art Theater (New York) with such success that it led to her engagement in the role with the Greater Miami Opera. After her first portrayal of Tosca with the Anchorage Opera, Ms. Porackova made her European debut in the title role of Strauss' Salome in Stralsund, Germany to enormous public and critical acclaim. During the run of Salome she was asked to replace an ailing colleague in the fiendishly difficult role of Abigaille in Nabucco at the eleventh hour, a spectacular feat whose success was attributable to her preparation: she had recently understudied the role with the Baltimore Opera. Following her success in Salome she created the title role in a new production of Catalani's La Wally, again to outstanding acclaim. She performed her first Amelia in Verdi's Un Ballo in Maschera with the Treasure Coast Opera in Florida and her first Santuzza in Cavalleria Rusticana with the Boston Bel Canto Opera.Ms. Porackova has been engaged in principle roles with the Boston Lyric, Anchorage, Baltimore, Seattle, Connecticut, Greater Miami, Boston Bel Canto, Opera Music Theater International and Lake George Opera. Her roles also include Elisabeth in Tannhauser, Senta in Der Fleigende Hollander and Isolde in Tristan und Isolde. Concert performances include Wagner's Wesendonk Lieder with the MIT Orchestra, Verdi's Requiem with Civic Symphony of Boston, Beethoven's "Ah, Perfido!" with the New York/Jerusalem Vocal Institute and the Mahler 2nd Symphony with Symphony Pro Musica of Massachusetts. Ms. Porackova was also featured on a recital tour of Israel with the New York/Jerusalem Vocal Institute performing works of Dvorak at the Diaspora Museum in Tel Aviv. As a recitalist, Ms Porackova has performed on the prestigious series of the Gerlesborgsskolan in Sweden; at the invitation of Lord Montagu of Beaulieu on his Beaulieu Abby Series in Hampshire, England.Ms. Porackova won First Place in the New York/Jerusalem Vocal Institute Competition. First Place in the National Association of Teachers of Singing Competition, Honorable Mention in the Enrico Caruso International Vocal Competition and a Fellowship Award with the Opera Music Theater International. She was a finals candidate in the Richard Tucker Foundation Award Competition, the Gerda Lissner Foundation Vocal Competition. She was also awarded a study grant from the Wagner Society of New York which sponsored her New York City recital debut at CAMI Hall. She is prominently listed in the American Wagner Singers Goldbook 1996. Ms. Porackova has also been seen on national television on the CBS Sunday Morning show and New Jersey Public Television. This year she was heard live on WGBH's Classics in the Morning radio in Boston. In Germany Ms Porackova recently sang Santuzza in Cavalleria Rusticana. In June 1999, At the invitation of Lord Montagu, part of her concert was filmed for the documentary The Estate, which has been broadcast nationally in the UK on ITV. Other recent engagements have included a concert performance of Strauss' Vier Letzte Lieder and Wagner's Liebestod with the Boston Longwood Symphony; the role of Georgette in Il Tabarro with the Boston Academy of Music (at Jordan Hall); and the title role of Rusalka with the Symphony Pro Musical. In September 1999 she returned to Jordan Hall to sing Leonora in Il Trovatore with the Boston Bel Canto Opera.She will make her recording debut on the Americus label with a recording of the songs of Rachmaninoff and Medtner(with pianist Dag Achatz). These will be released in 2000. Representation: Identity Marketing for Concert Artists, Inc. IMCA@tampabay.rr.com

Group Members Pianist DAG ACHATZ, regarded as one of the great pianists of his generation, has long enjoyed a most distinguished career. Born in Stockholm, he attended the Geneva and Paris Conservatoires, where he studied with Vlado Perlemutter, and Susanne Roche. in Siena he worked with Guido Agosti, in Stockholm with Greta Erikson, and in France, coached with Alfred Cortot. He won the coveted first prize in the Maria Canals Competition in Barcelone, and in several other international contests in Italy and Germany. He has performed in more than 20 countries, with recital and orchestral engagements in London, New York, Moscow, Vienna, Berlin, Paris and Tokyo. He has appeared as a soloist with the orchestras of Stockholm, Munich, Paris, Stuttgart, Milan and Torino. Dag Achatz's celebrated transcriptions of music by Stravinsky and Bernstein have earned him the admiration of the public and his peers, and indeed, of Soulinma Stravinsky and Leonard Bernstein himself, who asked him to transcribe his ballet, "Fancy Free".He has collaborated with several of the great singers of out day, including Barbara Hendricks, Hugues Cuenod, Birgit Finila and many others. Dag Achatz has recorded many discs for BIS, CBS, EMI and Melodiya records. He lives in Montreux, Switzerland. Mr. Achatz passion, beyond music making, is flying: he is a pilot, and often makes his way from one concert venue to the next in his Cessna

Instruments Dramatic Soprano

Albums AMERICUS RECORDS

Press Reviews "Joanna Porackova's performance of Anaide was the most impressive in the cast and her soprano blossomed throughout the evening." Allan Kozinn, New York Times May 24, 1995. "Mythic soprano with heroic declamation, suave cantilena, delicate fioritura and a huge vocal and emotional range, a poet's feeling for nuance and the staying poet of a triathelete?sending the audience into frenzies with her melting cadenza, impassioned recitatives and floating high notes." Susan Larson, Boston Globe September 1997(Title role, Norma) "The absolutely phenomenal dramatic soprano, Joanna Porackova?" John Bell Young, the American Record Guide 1999"Porackova distinguishes Bel Canto" Richard Dyer, Boston Globe (Aida)September 1998 "Porackova wins with Strauss and Wagner? you were never in doubt that she was singing different roles in different languages. The voice boasts a distinctive Slavic tartness to go with an unmistakable inborn glamour and what was manifestly an advanced and supple technique. Her performances of Dvorak, Catalani and Verdi were musically full-fledged events, and the opera scene will be hearing from her. Richard Buell, Boston Globe, August 1, 1995 "Fine bel canto style, passion, color and phrasing" Jeffrey Smith, Opera News (Norma) "Porackova as Leonora melted hearts with her tender liquescent phrases, her clean fioritura and her blazing high notes."Susan Larson,Boston Globe (Leonora in Il trovatore) "Puccini's Vissi d'arte, from Tosca was given a moving performance by Joanna Porackova. With her large, opulent voice and dramatic stage presence, she is perfect casting for the passionate, larger-than-life heroine."Naples Daily News January 23, 1997"Joanna Porackova sang accurately and was in good voice?The soprano showed impressive physical stamina, beginning a vocally secure "Vissi d'arte' prostrate, her face flat against the floor.Mike Durham, Opera News, April 1993"Porackova is a world class soprano with a big, luscious voice and exceptional dramatic sense. With amazing breath control and dynamic flexibility over her entire range, she hit all pitches secularly and her tone never wavered." The Times, Northwest Indiana March 1, 1996 "Strongly expressive and compelling in a superb vocal performance by Joanna Porackova who was performing the title role [Salome] as a guest from the U.S.A. Stralsunder Zeitung April 11, 1994. Joanna Porackova excelled in opera arias, which were real pearls?. She sung brilliantly with deft articulation in the rarely sung Romance. by Scriabin. Bold and winning, Ms. Porackova's exuberant singing? enhanced her authority. Rachmaninoff was a highlight. Her sultry soprano interpreted O never sing to me Again and Spring Waters with dignity. There is a mezzo quality about her voice that proved an advantage for the rich coloring the music demanded? .Ms Porackova interpreted Strauss' Four Last Songs with luster and rich nuance. Giving generously of herself?she was irresistible in Vissi d'arte? and in arias from Verdi's Aida and Bellini's Norma. And who could resist Ms Porackova in the encore, the romantic "Jag alskar dig" by Grieg? Lennart Wikstrom, Bohuslåningen Gerlesborg, Sweden, June 22 19

Location Lexington, Massachusetts - USA

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