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Hilbert Artists Management GmbH

Representation details:

Hilbert Artists Management GmbH
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  • Repertoire (18)
Composer & WorkRoleProductions
Bellini
La sonnambulaIl conte Rodolfo1
NormaOroveso1
Berg
LuluDer Marquis1
Berlioz
Les TroyensNarbal1

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Reviews

Nicola Luisotti tended toward quicker tempi throughout the evening, to solid results overall. There were undeniably some moments where it seemed things could get muddled and messy (the clarinet solo during the Allegro Brillante in the overture, where the accompanying triples were unfocused), but on the whole, it allowed for the opera to flow. While his tempo in the overture made the contrasts of the differing sections less pronounced, it did help in getting to the next scene quickly to mitigate some of the effects of shifting its placement. As is his tendency in many other Verdi operas, Luisotti did have moments where he would unleash the brass instruments over the entire orchestra (especially in the overture’s climax), creating imbalance, but it did create dramatic effect in punctuating chords. That said, he showed tremendous generosity toward the singers throughout the night, allowing them to expand phrases as they desired and never overpowering them; in fact, in moments where it seemed inevitable that the orchestra might drown out a thinner sound (like Stikhina’s during the duet with the Padre Guardiano), he adjusted quickly to allow the artist greater vocal bandwidth. On the whole, as is related to my personal experience with his work, this was one of Luisotti’s best interpretations and the musical successes of this production are undoubtedly a result of his collaboration with the vocal artists. Musically there is a lot to savor from this “Forza” production. And because it is not performed as often as it deserves, that is good enough. Hopefully future productions, or even revivals of this one, will take more risks with the staging to enable the work to truly come alive.
David Salazar
Varduhi Abrahamyan made a vividly engaging, earthy Preziosilla. This was a very lived in performance, which is just right. Abrahamyan brought bags of personality to the tricky role. Rafal Siwek made a poised Padre Guardiano, one suspected he was rather ascetic and definitely at one remove from humanity in great contrast to Gabriele Viviani's very human Melitone. As with the best performances of this role, Viviani added a nice sense of serious intensity to the humour. Carlo Cigni made a youthful, upright and unbending Marquis. The smaller roles were all well taken with Majdouline Zeran as a delightful Curra, Rodolphe Bricano as an upright Mastro Trabuco, Luciano Prete as the Alcade and Laurent Laberdesque as the surgeon.The large chorus sang well, and made the big chorus numbers fill the auditorium. In the pit Luisotti conducted a fluid account of the piece so this most sprawling of operas really flowed. The playing from the Paris Opera Orchestra was admirable.
Robert Hugill

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