Frühere Produktionsrezensionen
8akit ezen az estén Haja Zsolt keltett életre dicséretet érdemlő színvonalon. Túl azon, hogy a kottát neki is fejből kellett tudnia, hangilag és színészileg is elismerésre méltó alakítást nyújtott.
Zsolt Haja undoubtedly created a remarkable performance in the role of Clov, which is perceptibly multi-layered.
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.
“Fridman a thrillingly good fit for Lucrezia, handling the demands of the role with impressive ease” A last minute step-in for Yolanda Auyanet, Lidia Fridman in the title role proved a star in the making. With a dark, attractive timbre and remarkable clarity through her entire range, Fridman was a thrillingly good fit for Lucrezia, handling the demands of the role with impressive ease…
Stefan Vinke is an irrepressible Siegfried who bounces onto the stage and whose voice is unequalled in its comfort at sustained high tessitura, even when wound up to full power. I don’t think there’s another tenor in the world who can hit the levels Vinke does and make it sound so casual: his encounter with the Rhinemaidens, in which Siegfried narrowly misses saving the world without having any idea what he’s doing, was acted hugely entertainingly as well as sounding wonderful in its blend of voices.
En sorcière, Jolana Fogašová emporte tout sur son passage avec un timbre riche, une voix puissante et un engagement de chaque instant. Elle domine sans conteste une distribution vocale de très haut niveau.
Jolana Fogasova brachte das Kunststück fertig, nicht nur die Mezzopartie der Hexe, sondern auch die Sopranrolle der Fürstin mit dramatischem Geist zu füllen. Excellent besetzt waren auch die kleinen rollen and der Chor...
