BIO
A mezzo-soprano brasileira Kismara Pezzati se consolidou nos palcos internacionais como uma solista carismática e versátil.
Ela interpretou Carmen em Remscheid, Orfeo em São Paulo, Erda (O Idílio de Rheingold e Siegfried) em Essen, Schwertleite (Die Walküre) em Barcelona, Maddalena em Saint Étienne, Mary (O Holandês Voador) em Genebra, Caen, Zurique, Bari e Luxemburgo, Filippyevna (Eugene Onegin) em Zurique e St. VON MEXIKO de Rihm em Colônia. Recentemente estreou-se no papel principal Unbekannte III na estreia mundial de DER TRAUM VON DIR de Dayer em Zurique e como Ms. Quickly em Falstaff na Ópera de Colômbia em Bogotá. Seu repertório também inclui Amneris em Aida e Dalila em Samson et Dalila.
Além do sucesso no palco da ópera, Kismara Pezzati é muito requisitada como cantora de repertório sinfônico. Ela se apresentou como solista nas Sinfonias 2 e 8 de Mahler em Bogotá e Duisburg, na Sinfonia nº 1 de Hartman no Concertgebouw em Amsterdã e Roterdã, em Wesendoncklieder de Wagner-Henze em Genebra, em El Amor Brujo de De Falla em Amsterdã e Stuttgart, em Canções Folclóricas de Berio em Bogotá, em Messias de Handel em Essen, em Paixão por São João de J. S. Bach em Moscou, em Missa em Si Menor de Bach e em Missa Solemnis de Beethoven em Caracas, em Oratório Elias de Mendelssohn em Milão, em Missa Solemnis de Beethoven em Praga, em Joana d'Arc au bûcher de A. Honegger em Caracas e Stuttgart, e em Réquiems de Mozart e Verdi em Baden-Baden e Neuchâtel.
Compromissos recentes incluem seu retorno à Ópera de Colônia para sua estreia como Weseners alte Mutter na ópera Die Soldaten de Zimmermann, bem como apresentações como Blumenmädchen e Stimme aus der Höhe em Parsifal de Wagner sob a batuta de Sir Simon Rattle no Festival de Baden-Baden e em Berlim com a Filarmônica de Berlim.
Kismara se apresentou em muitos dos principais teatros e salas de concerto, incluindo o Gran Teatre del Liceu em Barcelona, Concertgebouw Amsterdam, Berliner Philharmonie, Liederhalle Stuttgart, KKL Luzern, Tonhalle Zürich, Royal Festival Hall em Londres, Teatro La Fenice em Veneza, Teatro Petruzzelli em Bari, Bunkamura Orchard Hall em Tóquio, Theatro Municipal em São Paulo, Sala São Paulo, Tea tro Amazonas em Manaus e International House of Music em Moscou.
O desenvolvimento da sua voz e carreira está documentado em diversas gravações, como Der Ring des Nibelungen sob a direção de Janowski, a Sinfonia nº 1 de Hartmann dirigida por Stenz, bem como DVDs para a Ópera de Zurique (Rigoletto e Tiefland, entre outros). Ela já se apresentou com artistas famosos e importantes como Helmuth Rilling, Lorin Maazel, Ralf Weikert, Vladimir Fedoseyev, Franz Welser-Möst, Christoph von Dohnányi, Patrick Fournillier, Nello Santi, Ingo Metzmacher, Bertrand de Billy, Vladimir Jurowski, Marek Janowski e Nikolaus Harnoncourt.
Kismara Pezzati
[alto]
(...) Flosshilde da contralto brasileira de voz rica Kismara Pessatti sendo especialmente memorável."
Graham Williams, HRAudio.net
Das Rheingold, Rundfunk-Sinfonieorchester Berlim
SIGA
TERRITÓRIO
Brasil - exclusivo
CRÍTICAS
King’s Children
"The portrayal of the characters, from the lustful innkeeper's daughter (stunning Martina Welschenbach) to the sassy stablemaid (the consistently captivating Kismara Pessatti), from the boastful petty bourgeois (Reinhard Mayr very good as the woodcutter) to the clumsy politician, from the greedy innkeeper with his cardboard-crowned serving staff, to the sensitive broom-binder's daughter (moving Marie-Thérèse Albert), deserves the highest admiration."
Oper-aktuell October 2007
Orpheus and Eurydike
"In any case, the three mezzo-sopranos Kismara Pessatti [...] sounded fresh and full and were thus able to cast their dangerous nets."
Oper-aktuell February 2010
Karajan Music Prize
"The Brazilian alto Kismara Pessatti, singing with a slightly guttural touch, convinced with energetic articulation and deep inner involvement."
Helmuth Rilling November 2011
Mendelssohn: Elias
"Finally, in No.18, we note the contralto's arioso accompanied by strings alone, capable of conveying a sense of extraordinary and necessary peace and repose to alleviate the accumulated tension; the contralto Kismara Pessatti, with the softness of her voice and with her vibrant low notes, made precious this piece, which might otherwise be a simple transition piece."
February 2012
Orfeu
"Still little known in Brazil, but already pursuing a notable international career, Kismara Pessatti (Orfeo) possesses a rare, beautiful and colourful alto timbre, which she artistically masters, allied to stupendous acting, demanded by Araújo’s uniquely designed staging. At the very end of the show, the words “May the whole world serve the empire of beauty” sung by Orfeo and extracted from the libretto, was projected on the walls. More than a mere citation, it serves as a confession of faith, a pact with Art signed in capital letters in this already mythical production."
Leonardo Martinelli, October 2012 Concerto Magazine
CD Review: Honegger, Jeanne d’Arc au bûcher
"The involvement that Ms. Pessatti brings to her singing of Cathérine’s lines is audible, and her interactions with her colleagues reveal a grace lacking in the work of many young singers."
Voix des Arts August 2013
Die erste Walpurgisnacht
"The Brazilian Kismara Pessatti, who has lived in Zurich for years and has established herself internationally in the concert and opera fields with intensive activity, sings the role of the old woman from the people."
St. Galler Tagblatt February 2014
Hartmann Symphonies 1-8
"This set is full of fine things. The Brazilian alto Kismara Pessatti is properly harrowing in the cantata-like First Symphony…."
BBC Music Magazine May 2014
El amor brujo
"Kismara Pessatti sympathetically captured it vocally. A polyphonic richness permeated "The Bells of Dawn" in particular as a brilliant conclusion to this work. The "Dance of Love Play" also possessed great expressive magic in this interpretation, as did the demonic midnight "Incantations"."
Online Merker January 2015
Roméo et Juliette
"With a determined hand, Love (alto Kismara Pessatti) guides the pen here: On the initially innocently white clothes and suits (design: Marie-Jeanne Lecca), she writes her stories."
St. Galler Tagblatt February 2015
The Marriage of Figaro
"Kismara Pessatti is a Marzellina with concentrated energy."
St. Galler Tagblatt September 2016
Mikado
"Quite different is Kismara Pessatti: a powerhouse in her emotional outbursts. Nothing for romantics! But musically so exuberant that the satire comes across splendidly black over the ramp."
St. Galler Tagblatt January 2017
Concerto Magazine
"A rare, beautiful and colourful timbre, which she artistically masters, allied to stupendous acting."
Leonardo Martinelli
BBC Music Magazine
"... she (Kismara Pezzati) brings earthly colours to six antiphons and one Alleluia, to which Sarah Hatch’s bright bells and silvery chimes bring a mystical edge."
BBC Music Magazine
"... the dark, rich voice of Kismara Pessatti casts a whole new light on her (Hildegard’s) music. The Brazilian contralto’s vocal style is rooted in scholarly study, but never hinders a sense of improvisatory freedom."
January 2020
Das Rheingold, Rundfunk-Sinfonieorchester Berlin
"(...) Flosshilde of the rich-voiced Brazilian contralto Kismara Pessatti being especially memorable."
Graham Williams, HRAudio.net