Frühere Produktionsrezensionen
3Der Ungar Krisztián Cser sang den Blaubart und schon bei seinen ersten Tönen konnte man nur staunen: was für eine tiefe, volle, aber klare Stimme. Er sang ohne Druck, dafür mit viel Wärme und Offenheit. Auch die Sopranistin Ildikó Komlósi konnte trotz etwas viel Vibrato mit spannungsreicher Dynamik und intensiver Höhe überzeugen. Emotional-darstellerisch blieb diese konzertante Aufführung leider etwas unterkühlt.
The bass Krisztián Cser, is much younger and yet is already an accomplished Bluebeard. His was a melancholy character not willing to reveal much about himself. When Judith forced him to open the doors of his castle, his response to her increasing agitation was to maintain his steady and frightening outward calm. Bluebeard’s recitation about his previous wives, whom he praises as dawn, noon and dusk, was delivered in a whispered soliloquy, more frightening than any violent outbursts in its quiet ferociousness.
3,613 / 5,000 Translation results At the Vicenza Opera Festival the Falstaff by Iván Fischer is staged and, as if by magic, also that by Giuseppe Verdi. Okay, it's a provocation, but up to a certain point. Here we do not speak of obedience to the Word, intended as a libretto or score - even if in the specific case the score is respected and how! - but of the spirit of the work, of the atmosphere, whatever that may mean. A Falstaff that is first of all comedy and not farce starting from the musical gesture, and then it is also so on stage or what remains of it. For a strange joke of melodrama, a show with a very traditional imprint and moreover in a semi-scenic form, therefore without wings or backdrops and with half an orchestra dispersed among the singers, becomes a cubic theater, almost the intimate atmosphere and the contained spaces of the cavea semicircular of the Olimpico, which seems to embrace the scene to enter it, were able to multiply the mutual identification of the public and artists.
