“It served to introduce Elisabeth Hetherington, a Canadian soprano with an almost Elizabethan presence -by the way, she is a renowned specialist, thanks to her research, in the field of the original pronunciation of Elizabethan English-, a multidisciplinary singer who is really comfortable singing historical. Her voice oozes delicacy, finesse, her luminosity, it is pristine in the treble and sometimes almost ethereal in her speech, managing to have a great impact at an expressive level and in the beauty of her emission. The initial aria «Zeug, ohn Verzug, in deinen Noeten», a Largo of great depth, came with a run in the treble, in a singer who at all times gave the sensation of singing quite contained to adapt to the demands of balance with a small instrumental ensemble. Sharpness and brilliance in this register, the treatment of the text was also excellent, with a very natural German pronunciation. The accompaniment, very well understood, was flexible, adapting very well to the Canadian’s phrasing, all of them in an expressiveness not particularly affected, which amplified, if possible, the sound impact. Excellent handling of the text and an imposing sobriety in the central recitative gave way to the second and last aria [«Ach, hoere doch, geliebter Vater!»], started with a very well managed instrumental unison. Hetherington’s vocals were especially appropriate for the writing of the aria, very comfortable in the middle register and with a very selective vibrato, as well as a very solvent management of the fiato. The da capo arrived with remarkable fineness ornamentation, together with a symbiotic instrumental accompaniment, almost in a vocal perspective. Hetherington’s presence and gestures were sufficiently expressive not to cross the fine line that separates them from banality.
