Review from Les Nuits d'Ete, Diario de Yucatan

One of the highlights of my year was making my debut singing Berlioz's Les Nuits d'Ete with the Sinfonica de Yucatan.  This was a big dream come true for me, as I consider these songs to be among the most beautiful music that I have ever heard.  I am humbled by the review that I received!


Her solid vocal skill emerges

Carla Dirlikov shows her artistic maturity

April 20th, 2015

"Spring is here, my beauty; it is the time blessed by lovers, and the bird, of satin wings, says his complaints to the edge of the nest. " Under the protection of these timely and alluring verses -originals of the great Gautier- the ninth recital of the XXIII Season Symphony Orchestra of Yucatan began.


Yesterday at noon, back in the uncomfortable and inhospitable Merida Theatre (now called Manzanero), contrary to the hopes of his large public, our orchestra displayed a vocal work by Hector Berlioz and the final symphony of Sergio Rachmaninoff, very good examples of late European Romanticism -initial and attentive to the orders of the master Juan Carlos Lomónaco with his polite countenance and expert flair of certainty. Mezzo-soprano Carla Dirkilov, who visits Merida for the third time, debuted the six songs included in the collection "summer nights" by the French author, originally to be accompanied by piano, but later orchestrated by the composer with tenderness as the unifying element.

The six songs that make up these "Nights" of Berlioz were devoted to expert singers, either sopranos or tenors, to emphasize the author's obsession for perfection, a trait also observed in the selection of the verses, all of Don Teofilo, who used language as jewelers do with their finest pieces. "Yes, is most beautiful the work when done in the most rebellious ways, as with the verse, or onyx or marble, or enamel."


Carla possesses in abundance the nuanced precaution required by these six songs. With meticulous attention to detail and a steady synthesis of pitch, she pursues and conquers the right phrasing, making the far-from-the-ordinary rhythmic flow of the texts seem docile. From the onset, the solid talent of Dirlikov emerged in the sumptuous expression of “Soulève ta paupière close /Qu’effleure un songe virginal”.

The skillful technique of the mezzosoprano created such a liberating experience that it simply led us to the essence of lyric beauty. Those qualities speak for themselves: emotiveness, idealized nuance, mastery of style, and an intuition for intimacy. The first first song, “Villanesa”, the glorification of country life with the returning warmth of summer, a peaceful forest and a love unobserved except for the breeze in the air.  

Carla immediately performed “Le spectre de la rose”, adorned with beautiful cello, flute and clarinet solos, a melancholic reflection on the fleeting nature of beauty, a recurrent topic in poetry of the likes of Horatio, Petrarch, Omar Khayyam and our own Juana Inés who clarified it so well –  “enjoy without fear the fairies / the brief course of your lush age”. Of the remaining songs there was one, “Absence”, which represented the culminating moment -not before and not after- in the voice of Ms. Dirlikov. Executing her rendition in warm vocal subtleties, the gentle guest artist discerned a variety of accents and transmitted the legacy of emotion and supplication proclaimed by the verse “Reviens!  Reviens!”.  A prolonged, heartfelt applause rewarded both soprano and orchestra.

- H. Alvarez Jorge Rendon