Past Production Reviews
1Fridman was powerful, Konu Kim gave a profound performance filled with different colors and emotions. No one could ever anticipate what Kim would do with the role as he first entered Act one, singing with a bright timbre and giving each phrase a smooth and delicate color. His phrases starting out with a piano sound and would eventually crescendo to a forte with smoothness and facility. That bright optimism could be seen in the aforementioned duet with Sylvia. While Fridman sang with delicacy and darker hues, Kim’s timbre contrasted with gleam, his high notes projecting beautifully into the hall. In the role of the King, Florian Sempey brought an imposing baritone to his character. From the start of the performance, he gave off an air of authority that started to weaken throughout the evening. In the his duet with Sylvia, Sempey brought a refined and controlled timbre that showcased his power over her. He forced Fridman into his arms undressing himself and insinuating forced intercourse. Overall the orchestra was solid but Tingaud sometimes indulged in slower tempi particularly in the ensemble strettas. It may have added to the drama to give more time to the ensembles but it seemed more French in style than the energetic Italian Bel Canto. The chorus led by Fabio Tartari was also part of the success of the evening. The changes in character that were conveyed showed their versatility. At the beginning they were boisterous, animated, joyful and prepared for a party, singing with unending energy. In the third act, the men’s chorus was gossipy, singing in a soft staccato as they were conspiring and entertaining themselves with the secret of Sylvia being the king’s mistress. In the final act the ensemble sang with an angelic tone, bringing the opera to a powerful and heavenly finale. Overall this was an unforgettable evening that thankfully has been recorded for release through Dynamic and presented Lidia Fridman and Konu Kim as promising figures in the opera world.
