"uma das mais brilhantes vozes da nova geração, já não é apenas uma jovem promissora, mas uma cantora com um domínio técnico muito seguro e uma personalidade artística que prima pela inteligência estilística. Um belo timbre em todos os registos, agilidade, fraseados fluentes e uma plasticidade vocal que lhe permite múltiplas nuances"
Cristina Fernandes (in Público)
"Lully’s striking vocal counterpoint was sung with vitality and polish by Claire Debono and Ana Quintans, sopranos, and Isabelle Druet, mezzo-soprano"
Allan Kozinn (in New York Times)
"A revelação de uma jovem soprano que acaba de ter uma actuação deslumbrante na Missa em Dó Menor de Mozart, na Gulbenkian"
Vasco Graça Moura (in Público)
"Ana Quintans encantou na Papagena"
Jorge Calado (in Expresso)
EVIL MACHINES
"um notável elenco, quase todo jovem ou relativamente jovem, com o evidente destaque desse talento consumado que é a soprano Ana Quintans"
Augusto M.Seabra (in Expresso)
REQUIEM/FAURÉ
"Le Pie Jesu joliment controlé d'Ana Quintans"
Benoît Fauchet (in Diapason)
"Die Gesangssolisten hingegen, Ana Quintans, Sopran und Peter Harvey, Bariton, fügen sich in dieses Konzept wunderbar ein. Beide haben keine Riesenstimmen, dafür aber eine große klangliche Klarheit, singen ebenso unangestrengt wie der Chor und mit sehr guter Textverständlichkeit"
Jan Kampmeier
"La soprano portugaise Ana Quintans possède dans le célèbre Pie Jesu la qualité d'une voix d'enfant alliée à la justesse d'une professionelle"
Georges Gad (in Le Monde de la Musique)
JUDICIUM SALOMONIS/ CHARPENTIER
"querelles des deux mères caractérisée par l'opposition entre la clarté de la voix d'Ana Quintans (la vraie) et l'acidité (forcée) de Marc Molomot (la fausse)"
Catherine Cessac (in Diapason)
"Und schon muss sich die Gabe der Weisheit bewähren, denn eben jener berühmte Streit der echten und der falschen Mutter um ein und dasselbe Kind wird dem König vorgetragen. Weiche und klare Töne hat Ana Quintans für den ruhigen und stark verinnerlichten Part der echten Mutter"
Boris Michael Gruhl
"Cette soirée a permis de découvrir deux superbes jeunes chanteurs (...) Ana Quintans a un très joli timbre fruité et un beau phrasé. Son chant très pur mais charnu semble émis sans effort, sans perturber la beauté de son visage ni la mince ligne de sa robe noire"
Alain Zürcher
SEMENTES DO FADO
"Nas modinhas há uma interessante fusão dos timbres do cravo e da guitarra que suportam as qualidades vocais de Ana Quintans (...) a voz ágil de Quintans, longe de pretender fazer uma abordagem fadista das peças, é especialmente adequada e expressiva (...) a forma como canta em português, com uma dicção cuidada e algum virtuosismo nas partes mais agudas e ornamentais, é prova de que o preconceito da música erudita em relação à língua portuguesa não faz sentido - desde que se compreenda a especificidade da língua em que se canta Pedro Boléo (in Público)
L'INCORONAZIONE DI POPPEA
"(...)the adorable Ana Quintans"
Le Monde
"unwiderstehlich quirlig Ana Quintans als Amore"
Marianne Zelger
KLEINE MUSIK
"As faixas mais impressionantes do disco devem-se à interpretação de Ana Quintans, pelo seu elevado nível técnico, pelo brilho vocal e pela força emocional"
Cristina Fernandes (in Público)
DER MESSIAS
"Un Messie intimiste (...) Au sein d’un quatuor remarquable tant par sa justesse que par sa diction et son souci de faire vivre le texte, Ana Quintans, précise sur l’ensemble de son registre et opportunément parcimonieuse en vibrato"
Simon Corley
"Solistes d'exception (...) Ana Quintans séduit par les inflexions et le cristallin de son chant"
Bernard Halter
Ana Quintans soprano
Concluded her University Studies in Sculpture in 1998 and started later her Musical Studies in the Nacional Conservatory in Lisbon with the tenor José Manuel Araújo.
At the Calouste Gulbenkian Foundation she made the Workshop La Musique des Mémoires with the french composer Claire Renard, and she worked in masterclasses with Jill Feldman; Mercè Obiol; Sarah Walker; Ketil Haugsand; Tom Krause; Verena Wachter; Chiara Banchini; Graham Johnson; Elisabete Matos and Ameral Gunson.
In 2002, 2003 and 2004 she did the Summer School for Young Singers OPERAPLUS in Belgium where she won the Vera Rozna Scholarship Award (2003) and the Temple Square Concert Award (2004). In 2005/2006 she studied in the Flanders Operastudio (Gent) with a scholarship from the Calouste Gulkenkian Foundation.
She sings Amore in L’incoronazione di Poppea by Monteverdi; Argie in Les paladins by Rameau; Belinda and Second Witch in Dido and Aeneas by Purcell; Peaseblosson in The Fairy Queen by Purcell; Atalanta from Serse by Handel; Pamina, First lady, First Boy and papaguena in Die Zauberflöte by Mozart; Lisetta in Il Mondo della Luna by Avondano; Scoiattolo in Il scoiattolo in gamba by Nino Rota; Lion and Bird in Fables by Ned Rorem; Musique in Les Plaisirs de Versailles by Marc-Antoine Charpentier; Spinalba in La Spinalba by Francisco António de Almeida; Yasmin in Raphael, reviens! by Bernard Cavanna; Nancy in Evil Machines by Luís Tinoco; Olympia in Les Contes d'Hoffmann by Offenbach. In opera she worked with directors such as Jorge Listopad; Paula Ribeiro; Bernard Sobel; Luca Aprea; Carlos Wagner; Erica Guimarães; Frederique Dussene; Jean Paul Bucchieri; Rebecca Scheiner; Deborah Warner and Terry Jones.
Conducted by William Christie; Álvaro Pinto; Michel Corboz; Cesário Costa; Pietro Rizzo; Enrico Onofri; João Paulo Santos among others, she performed in Opera de Lyon; Festival Musicatlântico; Festival Culturel Européen de Rouen ; Wiener Festwochen; Teatro São Luiz; Festival Ambronay ; Teatro Lethes; Centro Cultural de Belém; De Vlaamse Opera; Festival de Musique Ancienne de Lyon ; Leighton House Museum; Vorarlberger Landestheater Bregenz; Auditorium Stravinsky; Fundação Calouste Gulbenkian; Cité de la Musique and Carnegie Hall.
In the concert repertoire she sang as soloist Magnificat by J.S.Bach; Te Deum and Judicium Salomonis by Marc Antoine Charpentier; Salve Regina and Stabat Mater by Pergolesi; Stabat Mater by Domenico Scarlatti; Gloria by Vivaldi; Der Messias by Handel/Mozart; Mass C minor; Exsultate, Jubilate and Requiem by Mozart; Requiem by Fauré; Fantasia Coral by Beethoven; Petite Messe Solennelle by Rossini; Hör mein Bitten and Wie der Hirsch schreit (Psalm 42) by Mendelssohn; Mass in E Flat D950 by Franz Schubert; Gloria by Poulenc
She regularlly performs in recital with the pianists José Brandão and Hein Boterberg in Lied and Song repertoire.
Recorded Judicium Salomonis (Vera Mater) and Motet pour une longue offrande by Marc Antoine Charpentier with William Christie and Les Arts Florissants for Emi- Virgin Classics; Requiem by Fauré with Michel Corboz, The Sinfonia Varsovia and the Ensemble Vocal de Lausanne for Mirare; As Sementes do fado with Os Músicos do Tejo (Marcos Magalhães - Harpsichord; Ricardo Rocha - Portuguese Guitar) and Kleine Musik with Sete Lágrimas for Murecords.
After you've finished here, you may like to hear this folk-carol on myspace... Poem 230 of 230, WalkaboutsVerse (see my blog for details): CHRISTMAS SUNG SIMPLY
As gospellers have said, Beneath signalling skies, On land dusty to tread, A trough in a stable Was the strawy first-bed Of a divine baby - The forgiving Godhead.
A season for new hope - There then and here now; The yuletide of goodwill - There then and here now.
In respect of this chance, Beneath bright or dark skies, Faith's the star that we glance Attending Christ's churches And trying to enhance, With singing and ritual, Our God-loving stance.
After you've finished here, you may like to hear this poem sung on myspace...
Poem 162 of 230, WalkaboutsVerse (please see my blog): TEES TO TYNE: FIRST IMPRESSIONS - SUMMER 2001
Where traditions are not so rare; Sea, country and works scent the air; A multitude of monuments, Planted tubs and patterned pavements.
The longish pedestrian malls; The remnants of defensive walls; Historic buildings are a gauge Of the respect for heritage.
Wheat, rape and pines in the fields; Estuaries guarded by shields; Long sandy beaches and wide scenes; Romantic-ruin go-betweens.
Rivers in parts licked by trees, Or fringed by boat clubs, wharfs, gantries, And crossed by practical delights - Varied spans, forming pleasing sights.
Fine churches headed at Durham; Football kits ad infinitum; Kept castles - one for study; Masonry behind masonry.
And, with moulding-works out that way, It’s somewhere for a longer stay..?
A Meifumado faz 5 anos e para celebrar lançou a compilação "5 Anos 13 Merdas". Nela apresentamos novos artistas que engrossaram o lote Meifumado nomeadamente Selfish Cunt, Sam Amant, Paco Hunter e MC Jihad; e mostramos músicas que nunca foram editadas das outras bandas que já sabem o que a casa gasta tais como The Zany Dislexic Band, PZ, Pplectro, Preto, Type e Abztraqt Sir Q.
After you've finished here, you may like to hear this poem sung on myspace...
Poem 2 of 230, WalkaboutsVerse (please see my blog): WALKABOUT WITH MY PEN
Once drove an old sedan, up north, From a place in Sydney to Cairns; Then to Kuranda I went forth, By train, to look without set plans.
I browsed through the trendy market, With fresh fruits of tropical kind; Walked to the creek through lush thicket - Nature’s hand giving peace of mind.
I dined in a scenic cafe; Then, outside, as I wrote for yen, Some passing Kooris called-out: “Hey, You go walkabout with your pen.”
Request or question, I don’t know - Assured voices, elderly men. That’s now several years ago, And I’ve seen the world - with my pen.
Em transparência e sugestão, um VOLTE-FACE único de palavra + som + imagem + movimento eclodirá no Bar Lounge, ao Cais do Sodré. Expande-te connosco, em VOLTE-FACE fervilhante, disseminando expansões até ao dia nascer!
Em dia de Liberdade, a réplica do VOLTE-FACE dá-se em plena Sintra. Segue connosco e celebra o mote da livre circulação criativa dos espíritos livres de latitudes!
Visit my colour photos and, if you like, leave me a comment to know your opinion.
Also you can visit the black&white myspace for my film photos, just click on this link http://myspace. com/borjaap_whiteblack or click on the image below.
As gospellers have said, Beneath signalling skies, On land dusty to tread, A trough in a stable Was the strawy first-bed Of a divine baby - The forgiving Godhead.
A season for new hope - There then and here now; The yuletide of goodwill - There then and here now.
In respect of this chance, Beneath bright or dark skies, Faith’s the star that we glance Attending Christ’s churches And trying to enhance, With singing and ritual, Our God-loving stance.
..
