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Ariadne auf Naxos
D: Matthias Hartmann
C: Daniele Gatti
Cast: Alexander PereiraFranz TscherneMarkus WerbaMichèle LosierSophie KochKrassimira StoyanovaKrassimira StoyanovaLiviu HolenderLuca BernardMaria NazarovaJacoub EisaDaniele MacciantelliDaniel SchliewaPaul SchweinesterAJ GlueckertAJ GlueckertLiubov MedvedevaChiara NotarnicolaAntonio GarésMatteo GuerzèBeate RitterJessica PrattGloria RehmSara BlanchAmin AhangaranDavide PivaJoseph DahdahEleonora FilipponiAnna-Doris Capitelli
Firenze - Teatro della Pergola: Ariadne auf Naxos

Simpatico e gradevole l’Arlecchino di Liviu Holender

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www.operaclick.comSilvano Capecchi
Firenze - Teatro della Pergola: Ariadne auf Naxos

Liviu Holender è ottimo nel ruolo di Harlekin

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www.operaclick.comFabrizio Moschini
Tannhäuser
D: Tim Albery
C: Sebastian WeigleAlexander Soddy
Cast: Stefan VinkeNorbert ErnstLise DavidsenGerald FinleyEkaterina GubanovaEwa PłonkaMika KaresMichael KrausOlafur SigurdarsonEgor ZhuravskiiMichael GibsonJeremy WhiteSarah Dufresne
Astonishing Performance from Sophie Koch in Covent Garden’s Tannhäuser

Sophie Koch was an astonishing Venus, making her Royal Opera role debut triumphantly. Rich and refulgent of tone, her voice was fully open; this, coupled with her sheer stage presence made her hypnotic. Perhaps Peter Seiffert was not quite her equal, and the opening scenes revealed a trait that was disconcertingly present throughout the evening: a sort of zooming in and out of focus for his voice and, indeed, his rapport with the role itself. Initially, he sounded disconnected and strained; then for a while all would be fine, as if everything was congruent once more, before strain once more crept in. He is an experienced Tannhäuser, for sure (San Francisco, Berlin State, Deutsche Oper and Zurich are amongst the opera houses that have featured him in this role), but this was not his night; the beam was not consistently on full, shall we say. Far more consistent was the clear star of the evening, Christian Gerhaher in the role of Wolfram. He brought a Lieder singer’s art to Wagner’s long lines, triumphantly: here was a strong interpretation moulded into human shape by infinite gradations of tone and flexibilities of phrasing. Lyrical and beautiful, his “O du, mein lieber Anendstern” brought the hushed intimacy of a fine liederabend at the Wigmore Hall to the far more spacious Covent Garden – yet the sound projected over the vast space perfectly. The role furnished Gerhaher’s Covent Garden debut in 2010. Emma Bell’s Elisabeth, another singer making a role debut, was magnificent. Set amongst ruins, “Dich teure Halle” needed all the magic she could inject, and her gleaming voice brought it through. Here was an intensely human Elisabeth, and we the audience felt her hopes and fears with her in the song contest.other small roles were well taken, including Michael Kraus’s Biterolf and Stephen Milling’s confident Hermann. Yet it is difficult to ignore the fact that the imperfect masterpiece that is Tannhäuser still makes its blazing mark. If Haenchen’s tempi alternated between injecting intensity and just staying the right side of feeling rushed, he remained within boundaries; and Gerhaher’s Wolfram made the evening worthwhile.

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29 april 2016seenandheard-international.comColin Clarke

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