Femmes fatales: Soprano Heroines from the Orient Seljan Nasibli, National Symphony Orchestra of Ukraine & Yalchin Adigozalov
- Maurice Ravel (1875 - 1937): Shéhérazade, M. 41 (Version for Voice & Orchestra):
- 1Shéhérazade, M. 41 (Version for Voice & Orchestra): No. 1, Asie10:31
- 2Shéhérazade, M. 41 (Version for Voice & Orchestra): No. 2, La flûte enchantée03:14
- 3Shéhérazade, M. 41 (Version for Voice & Orchestra): No. 3, L'indifférent04:10
- Samuel Barber (1910 - 1981):
- 4Andromache's Farewell, Op. 3913:00
- Georges Bizet (1838 - 1875): Les pêcheurs de perles, WD 13:
- 5Les pêcheurs de perles, WD 13: Comme autrefois dans la nuit sombre06:44
- Karol Szymanowski (1882 - 1937): Songs of the Fairy Tale Princess, Op. 31, M. 32 (Version for Voice & Orchestra) [Excerpts]:
- 6Songs of the Fairy Tale Princess, Op. 31, M. 32 (Version for Voice & Orchestra) [Excerpts]: No. 1, Samotny księżyc04:36
- 7Songs of the Fairy Tale Princess, Op. 31, M. 32 (Version for Voice & Orchestra) [Excerpts]: No. 2, Słowik02:54
- 8Songs of the Fairy Tale Princess, Op. 31, M. 32 (Version for Voice & Orchestra) [Excerpts]: No. 4, Taniec02:00
- Nikolai Rimsky-Korsakov (1844 - 1908): The Golden Cockerel:
- 9The Golden Cockerel: Hymn to the Sun05:06
- Giacomo Puccini (1858 - 1924): Turandot, SC 91 (Excerpts):
- 10Turandot, SC 91 (Excerpts): Tu che di gel sei cinta03:19
- 11Turandot, SC 91 (Excerpts): Signore, ascolta!02:50
- Jules Massenet (1842 - 1912): Thaïs:
- 12Thaïs: Dis-moi que je suis belle06:47
Info for Femmes fatales: Soprano Heroines from the Orient
Composers of every era have drawn on the strengths, sorrows and joys of women for operas and vocal works, inspiring some of their most powerful music. From the heartbreaking tragedy of Samuel Barber’s Andromache’s Farewell to the magical storytelling of Shéhérazade and the Fairy-Tale Princess, acclaimed soprano Seljan Nasibli takes us on a timeless journey through female musical ancestors whose courage is as relevant in today’s society as it has ever been.
In recent years, the role of women and their importance in our society has been put to the forefront. During my years studying, learning and practicing roles, I noticed that composers from all eras have accentuated women and their strength in their operas and vocal works. From Andromache’s downfall in killing her own son, to Shéhérazade and the Fairy-Tale Princess’s power of charming through storytelling, to Queen Shemakha using her charm and cunning to bring a man to his knees, Thaïs’s fright of aging due to men, Leïla’s bravery in bending the rules, and Liù’s courage in saving a man by taking her own life, I saw the strength, hardships, miseries, sorrows and joys of all women of the past, present and future. Although all these heroines are from the Orient, the issues they face are the difficulties of every woman around the world today. I believe these composers have chosen Oriental women because of their exoticism and mysticism. Being originally from the junction of Europe and Asia, my heart is within this music and with these Eastern women. I identify with this music, and through it, to these heroines.
Seljan Nasibili, soprano
National Symphony Orchestra of Ukraine
Yalchin Adigezalov, conductor
recently completed her studies at The Royal College of Music, where she graduated with a Masters Degree in Vocal Performance. Previously she had studied for her International Baccalaureate in Oxford where she received third place in the Oxford Music Festival Competition.
Seljan Nasibli recently made her début in King’s Place Theatre at the Schönberg Festival singing ‘Donde estas hermano?’ by Luigi Nono and her début at London’s Barbican Hall as a soloist in a tribute to the Azerbaijani composer Niyazi. Other recent concert engagements include three Nocturnes by Debussy for the Lutoslawski Centenary ‘Woven Words’ at London’s Queen Elizabeth Hall and the role of second soprano in the opera Arahnes by Jan Gorjanc in London’s Cadogan Hall. With Westminster Opera she performed the role of Donna Anna Don Giovanni in France. She has recently performed in Falstaff together with the Liverpool Philharmonic Orchestra and with The European Opera Centre together with Laurent Pillot. She performed Violetta this summer with The Oxford Alternative Orchestra and recently debuted at the Laeiszhalle in Hamburg with the Taurida State Symphonic Orchestra.