Produktionsrezensionen (7)

 
12 elo 2022 - 3 joulu 2016
Les contes d'Hoffmann, Offenbach,  
Royal Opera House12 Vorstellungen
08 marraskuu 2016www.whatsonstage.comAuthorMark ValenciaReview: Les Contes d'Hoffmann (Royal Opera House)
A stagey child of the 80s would drool at the prospect of designs by William Dudley, costumes by Maria Björnson, lighting by David Hersey and choreography by Eleanor Fazan. And the dream team doesn't disappoint, with a vast, versatile split-level set that accommodates intimate exchanges and near-CGI crowd scenes involving the admirable Royal Opera Chorus with equal panache.Most of the singers raised the temperature, with Vittorio Grigòlo on top scenery-chewing form in the title role. The young tenor knows the value of firmly motorised arm gestures, and he has the chops to dispatch Hoffmann's showpiece arias with an overflow of passion. Few tenors fill the reverie that interrupts the 'Kleinzach' song with quite so much Italianate ardour. All that's missing is the vulnerability of a true romantic.Of his three loves, Christine Rice was a sultry Giulietta in Schlesinger's eye-scorching Venice act, while her extravagant vocal colours were matched by Sonya Yoncheva's silver-voiced beauty as Antonia, the doomed singer, in the next scene. (There are many good reasons, musical, textual and theatrical, why the order of these two acts should be reversed—and it often is these days—but the production is fixed.) Earlier, Sofia Fomina had given a tidy if unremarkable account of Olympia, the mechanical doll. Thomas Hampson was gleefully baleful as the quartet of bad guys, always with a glint in his eye and an implicit wink at the audience, and there was fine multiple-character work, too, from Vincent Ordonneau who, with his fellow Frenchman Christophe Mortagne (Spalanzani), set a standard of pronunciation that eluded most of his colleagues. No one, though, eclipsed Kate Lindsey as Nicklausse, Hoffmann's 80°-proof spiritual muse. The American mezzo's every appearance lifted this revival above the routine, and from the famous barcarolle to a stylish farewell her limpid tones had the warm glow of sugared absinthe. Santé. Les Contes d'Hoffmann runs in repertory at the Royal Opera House until 3 December.The performance on 15 November will be relayed to cinemas as part of the ROH Live season.
12 elo - 29 huhti 2022
Lucia di Lammermoor, Donizetti,  
Opera Philadelphia   |  Wiener Staatsoper6 Vorstellungen
17 huhtikuu 2022onlinemerker.comEin rundum gelungener Opernabend - vielleicht sogar der beste seit langer Zeit2018: the year Canadians won big at international music competitions CLASSICAL
Ensemblemitglied Josh Lovell wird von Einsatz zu Einsatz besser, sein heller, jugendlich frischer Tenor gewinnt an Durchschlagskraft und Farbigkeit. Als Arturo begegnet er den Hauptakteuren auf Augenhöhe und ist ein nicht unsympathischer, von Enrico auserwählter Bräutigam Lucias.
14 loka - 17 marras 2022
La bohème, Puccini,  
Teatro Real de Madrid   |  Lyric Opera of Chicago   |  Royal Opera House17 Vorstellungen
21 kesäkuu 2021www.thestage.co.ukJulia Rank“Rich with catharsis”
Richard Jones’ production revived with warmth, elegance and added resonance
21 kesäkuu 2021www.thetimes.co.ukGeoff BrownLa bohème review — Danielle de Niese is the stand-out in punchy Puccini
Café Momus on Christmas Eve is clearly suffering from a waiter shortage; fewer customers too, plus a shrunken crowd milling outside. Otherwise, there are fewer changes than you might expect in Dan Dooner’s Covid-conscious, socially distanced edition of Richard Jones’s 2017 production of Puccini’s masterpiece. The snow continues to drift from the heavens, and the bohemians’ Paris garret hasn’t got any warmer. More to the point for this story of sudden love, poverty and cruel death, the characters still intermingle, embrace, and, in the case of Musetta, bite. Meanwhile, down in the pit, an orchestra of 74 has been stripped down to 47, armed with Mario Parenti’s reduced orchestration. Yet despite much lighter forces, Puccini remains Puccini.
21 kesäkuu 2021www.standard.co.ukBarry MillingtonLa bohème at Royal Opera House review: a potent, unsentimental but Covid-struck staging
TB kills the heroine and coronavirus denudes the cafe scene, but the singing in Dan Dooner’s revival was top-notch
12 - 24 maalis 2022
Lucia di Lammermoor, Donizetti,  
Bayerische Staatsoper4 Vorstellungen
16 maaliskuu 2022www.opera-online.comDr. Helmut PitschLucia in München Juan Diego Florez sprang ein und siegte
Lange war diese seine 46. Oper, das einzige Werk, das in den Spielplänen der Opernhäuser verblieb. Erst in den letzten Jahrzehnten erleben wir eine Renaissance seiner Kompositionen. Die Wiederaufnahme der in 2015 entstandenen Inszenierung wird zum würdigen Belcantofest. Der kurzfristig für Xabier Anduaga eingesprungene Juan Diego Florez zählt derzeit zu den besten Tenören seines Faches und hat das eindrucksvoll unter Beweis gestellt. Sicher und in feinsten Tönen, herrlich getragenen Melodiebögen und schwungvollen Höhen zeigt er keine Makel. Der letzte Akt ist ganz dem Leid des unselig Geliebten und Verliebten gewidmet, sodass diese Oper auch zu einer Tenoroper geworden ist und das unterstreicht der Peruaner mit einer mitreißenden berührenden Schlusszene, die zu Tränen rührt.
14 loka - 2 marras 2019
Don Pasquale, Donizetti,  
Royal Opera House7 Vorstellungen
30 lokakuu 2019www.newstatesman.comSimon CallowDon Pasquale at the Royal Opera House: a muted take on an old comedy
How cruel these old comedies are! Don Pasquale, close to the end of Donizetti’s astonishing and tragically truncated career – this was his 64th opera; only two more were to come – is sometimes spoken of as being rather more nuanced than other examples of the genre. But at core it is the quintessential commedia dell’arte story of young love triumphing over authority in the shape of an old man. Or, to put it another way, it presents, for our approval, the spectacle of an old man being punished for attempting to foil the desires of the young.