Miyus
Soprano
December : 7, 14, 31
Januar: 8, 13, 20
Februar : 4, 15
April : 13, 20, 23, 30
Mai: 6
Mai: 13, 17, 21, 25
Juni : 2, 4, 7, 10, 16, 18, 23
Juni: 14, 22
April 24
Isabella Steppan, Backtrack
The second couple of the evening offered significantly more fire, both vocally and actively: Tetiana Miyus impressed as the capricious Musetta, especially in the second act with stage presence and glamor factor.
With the crystal clear height of her soprano and clever phrasing, she skilfully wrapped both the audience and Marcello around her finger and in the fourth act she designed a moving, heartfelt prayer before Mimì's death.
Tetiana Miyus is a true feast for the eyes and ears, both vocally and dramatically. Lively, delightful, wide awake and equipped with a fresh, graceful soprano.
In truth, it is probably she who pulls the strings in the background, and not, as usual, her bridegroom, who is skillfully manipulated by her, as in a scene where she actually pulls him with strings tied to his arms, like one Puppet controls.
One hears this poetry mainly through Tetiana Miyus as Leïla, who gives this evening lyrical brilliance and suppleness: She is not one of the coloratura automatons that one has often heard in this part, she sings with imagination, inwardness and rounded coloratura. She also does not owe the dramatic outbursts in the third act; Miyus is moving in her own league this evening.
The voice has the necessary lightness and lyrical quality to float endlessly in space in the ethereal moments — for example, in the second act during the aria "Comme autrefois dans la nuit", time almost seemed to stand still; on the other hand, it offered enough attack to ask for Nadir’s life in the third act, both heartily and intensely.
Miyus ‘soprano is endowed with a beautiful sound in all registers and conveyed the emotional world of the character through an abundance of colors.
With Donna Elvira, Tetiana Miyus was able to make a new role her own, and she clearly enjoyed playing this exalted and at times somewhat furious role.
Miyu’s ‘interpretation proved that an Elvira does not necessarily have to be filled with a heavy, nagging voice: energetically yet beautifully she sang about her initial fantasies of revenge, heartbreaking she finally poured the inner conflict in" Mi tradì "into pearly coloratura.
