Profil vélemények
2Garanča’s voice is full and glamorous with an increased weight behind it, but expressive despite its density.
... her singing is simply glorious
Korábbi gyártási vélemények
6The pairing of Cavalleria rusticana and Pagliacci seems to resist any attempt to decouple, which could be a result of clinging to tradition or, more likely, because they really fit well together. The two stories are of similar nature, and they share a musical language rooted in verismo. Conductor Paolo Carignani gave a truthful interpretation of this shared language, leading the Philharmonia Zürich in an emotional, passionate reading of the scores. The chorus in both operas has a very prominent role, and their part is particularly difficult, both vocally and rhythmically. The voices were excellent, showing no strain even in the most arduous passages, but they struggled at times with the rhythm: Carignani had to work hard to keep the chorus at the same tempo as the orchestra. Perhaps this was due to reduced rehearsal time in a reprise; hopefully these snags will be ironed out in the rest of the run.
Wie soll man als Rezensent einen solchen Opernabend würdigen, bei dem Superlative nicht auszureichen scheinen, um den gewaltigen emotionalen Eindrücken, denen man ausgesetzt war, gerecht zu werden? Von den mit bewegender Sensibilität intonierten Passagen der Streicher in der Introduktion zu Mascagnis CAVALLERIA RUSTICANA bis zur erschütternden Feststellung des Doppelmörders Canio am Ende von PAGLIACCI "La commedia è finita!" war man einem bis ins Knochenmark ergreifenden, ununterbrochenen Gefühlsstrudel ausgesetzt, an einem Abend, bei dem einfach alles passte, szenisch UND musikalisch. Grischa Asagaroffs Inszenierung in der Ausstattung Luigi Peregos hat seit ihrer Premiere vor 13 Jahren nichts an Stimmigkeit verloren, ja eher noch an Intensität dazugewonnen. Die genaue Charakterisierung der Rollen, die detailreiche Führung des Chors und das genaue Setting trugen zur überwältigenden Gesamtwirkung der beiden veristischen Reisser entscheidend bei. (Näheres zur Inszenierung kann man in meinen Berichten zur Premiere von 2009 und den Wiederaufnahmen nachlesen.)
Michael Volle en Grand Prêtre de Dagon est impressionnant. Oserait-on dire comme d’habitude, la voix est évidemment toujours solide, bien projetée, sonore, mais la diction est d’une incroyable limpidité telle qu’on le comprend directement, avec un phrasé modèle. C’est une colonne portante de la production, même si le traitement du personnage par la mise en scène et même par le livret ne laisse pas beaucoup de place à la psychologie et aux raffinements. Dans les grands prêtres que j’ai entendus, il est immédiatement projeté aux côtés d’Ernest Blanc. C’est dire à quels sommets nous sommes.
At the State Opera, film director Damián Szifron sparked a spectacle with 'Samson et Dalila'.
We went to see Carmen at the Arena Di Verona. We had 'cheap seats' that is sitting on the marble steps at the top of this Roman arena...which is all part of the experience and why we chose them. Why sit in a comfy seat at ground level when you can do it like the Romans and have a fantastic view of the Opera and everyone else! We weren't advised this in advance. but whish we had been that you can actually take food and plastic bottles of anyy drink in with you (and at 5 euros for a can of coke you need to!!) There is a great value eatery in the square outside called Brek Brek but if we'd known we would have enjoyed taking a small picnic. Carmen was a 5 hour opera! the marble steps weren't too hard on the bottom and you can hire cushions at 3 euros which goes to the Red Cross, but you probably didn't need them (or maybe I just have a very comfy bottom!) however it is hard to lean back because of the depth of the steps so if you can borrow a pillow or the like to stuff behind your back particularly for the long operas this would be advisable (as long as no one is sitting behind you you should be ok) A wonderful experience and well worth it if it's your thing.
