“Two fundamental moments of the staging are worth mentioning, both located in the nerve center of the work, in the second act. The first moment occurs when Senta sings his Ballad: in the director's view, this soprano solo is the “cornerstone” of opera, revealing a woman “who does not fit into her world”, who experiences the anguish of existence in through an “alienated bourgeois society”. It is difficult not to agree with the director when he points out Senta as the protagonist of the work and builds this scene with great sensitivity, especially because he has a complete singer at his disposal, who plunged headlong into the character, as we will see later.

The second big moment happens shortly afterwards, in the Dutch duet with Senta. Pablo Maritano first moves the protagonists away, to gradually bring them closer as the duet evolves. It is a simple solution, but at the same time intelligent, which proves to be quite effective due to the ability of soloists to express a contained intensity. Gradually, the two singers abandon this containment, to surrender to the rapture in another remarkable passage. ”

“Soprano Tati Helene was not far behind. The artist incarnated with precision and sensitivity the “cornerstone” of the work in the vision of director Pablo Maritano. Her Senta, since appearing at the beginning of the second act, somewhat alien to what happens around her, absorbed in a world of her own, far from the prosaic concerns of the society in which she lives, has dominated the stage with great magnetism. The solidity of his scenic interpretation and the quality of his vocal performance resulted in the most rewarding work that could be observed in this Wandering Dutchman. Safe, Helene embarked on the proposal of the direction and presented an irreproachable job, giving life to a child / woman who matures in a few minutes, expressing anguish, pity, rapture and a firmness of unwavering purpose in her non-negotiable decision to be the faithful redeemer of the Dutchman .

Since the Ballad of the second act, Johohohe! Johohohe !, passing through the duets with Erik and, above all, with the Dutchman, and until the final sacrifice of his character, the soprano's voice was beautiful and fluent through his precise tuning and refined technique, which always allowed him a clear and well-designed emission, but not without nuances. Between the Senta that she had performed a few years ago at the Theatro da Paz, in Belém, and this one now in Belo Horizonte, there is a clear artistic growth. ”

((To read the review in full, click here.)

Nelson Rubens Kunze of the concerto.com website, on the other hand, watched one of the last recitals and also highlighted Helene's participation: “Senta was made by soprano Tati Helene, with a clear and sonorous voice, especially in the treble region”. (Read the full review here).