Profilbewertungen
5"Top-notch international singers [...] are joined by very talented locals who are, in at least one case, undeniably world-class...The long, loving look in close proximity between Anna-Louise Cole’s Venus and Vinke’s Tannhäuser got the concert off to an exciting start. Cole [...] once again shows she is an Australian singer who will surely go far. Her sumptuous soprano, always so strong and clear even in the stratospheric upper register, steals the show in Act I. It’s a pity Venus hardly appears thereafter."
“Cole tackled these dramatic demands as competently and thoroughly as the musical fireworks, her physical prowess giving her an electrifying stage presence. [...] The finale, following Siegfried’s death, is a marathon sprint for the soprano and Cole sang the immolation speech with great passion and strength, her ability to cut through the powerful orchestration with some astonishing non-stop top notes added a fierce nobility to her delivery. [...] The audience response to this electrifying and powerful musical ending was a 10 minute standing ovation”
Frühere Produktionsrezensionen
5This retelling of Macbeth, done in typical Opera Queensland fashion, utilizes modern day technology in combination with the creative direction from Laura Hansford, to provide a platform to engage with historical content and explore ideas that are still relevant to this day. The charm to this production is in the way you are left feeling, the medium challenges viewers to slow down and drink in the surroundings. The outstanding vocal performances, and the evocative depictions of each of the characters, builds empathy with the viewer, as each of the characters can be seen, heard and felt in ways that are simply not possible with any other medium, and with the slow-paced nature of the format, as lengthy as it may be, allows the viewer breathing room to explore the content at their own pace, begging the question “Is there another way I can look at this”?
Starring Jose Carbö and Anna-Louise Cole, Opera Queensland's static, stand-and-deliver staging of Verdi’s Macbeth yielded mixed results.
A tutti blaze of good old C major
On occasion, an opera in concert comes along that knocks your socks off with such potency and power that not a skerrick of disappointment is felt for the absence of story-setting scenic and costumed designs characteristic of a fully staged production.
