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Davide Livermore

Regie, Bühnenbild, Kostümbild, Lichtgestaltung

Repräsentationsdetails:

Ariosi Management Sagl

Repräsentationsdetails:

Ariosi Management Sagl
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maskVon Kulturinstitution / verifiziert durch Operabase

mask Von Künstler*in / Agent*in

m
 Matinée
t
 Tournee
c
 Konzert

mask Von Künstler*in / Agent*in

  • Repertoire (32)
Komponist*in & WerkRolleProduktionen
Bellini
NormaStage director5
Set designer1
Bizet
CarmenStage director2
Set designer1

Videos

Rezensionen

The set designer Giò Forma should be highlighted first for his magnificent representation of the Madrid cinema Doré, which was already on the scene even before the start of the show, welcoming a pleasantly surprised audience. It is an innovative decoration, but at the same time respectful of the plot that favored its development at all times. It is also worth mentioning as a great success the dance pictures that accompanied the movement of the scenography itself, and the projection of the protagonists on the big screen, presented in the manner of the great movie stars. The cast was heterogeneous in its stage and vocal manifestation. Maite Alberola played a more or less balanced and correct Luisa Fernanda, but without the solvency that one would expect from a character who is the source of the main conflict. The Valencian soprano made up for it with the duo "Cállate, corazón", undoubtedly one of the brightest moments, starting some braves that rose beyond the masks. Javier Franco, who played Vidal, one of the stubborn suitors, manifested outstanding qualities as an actor and outlined a character with character and a lot of presence. We do not forget the choir, some of whose members participated in the scene with interesting individual interventions; He was noticed at times somewhat disoriented with respect to an orchestra led by Karel Mark Chichon, and this, in turn, correct and without great memorable effects beyond adequately tracing the emotional content that accompanies the scenes and the psychology of the characters. Of course, recognition and applause, albeit a posteriori, for the solo violin who delighted us with his intervention at the Intermezzo.
Jorge Baeza Stanicic

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