Tidigare produktion recensioner
28Schon 2014 hatte Christoph Waltz den Rosenkavalier in Antwerpen inszeniert. Auf dessen Vorlage kommt das Werk nun auch in Genf auf die Bühne – und überzeugt ebenso durch feine Sängerdarsteller wie durch akribische Personenregie.
The first minutes of the prologue worry as much by the asceticism of lights as by the elegiac diction of human fragility, interpreted by tenor Mark Padmore and the invisibility of the three torments (time, fortune and love), whose presence is revealed only by a large billboard. At the end of the prologue, the curtain rises on an air terminal where we discover the first protagonists, all dressed in black. Pénélope (the contralto Sara Mingarda ) dazzles from the first notes with perfect diction and vocal mastery leaving pride of place to feelings. Over the arias, the plateau offers a homogeneous and high quality ensemble with a few moments of pure magic, like the bass of an abyssal depth of Jérôme Varnier in Neptune. We rediscover Mark Padmore, in the costume of Ulysses this time, shattering the concerns aroused by the choice of diction of the prologue. In the last arias, moreover, Penelope and Ulysses impress with their ability to express a wide range of feelings, sublimating the humanity that this staging has chosen to privilege. Fortunately, after the intermission, the staging shifts into too much, even too much, for our greatest pleasure. We chain the stereotypes: the Suitors who gradually undress to show their virility, virility that we discover, for some, in the most intimate details. The ordeal of the bow proposed by Pénélope turns into a real bloodbath, in a parodic aesthetic of American slasher . The triggering of the fire nozzles underlined by the marvelous play of lights by Ken Hiocoplunges the scene into a fog as dramatic as it is tragicomic, the Pretenders still lying here and there in their blood in incongruous positions. Finally, it is gods in queer creatures who come to complete this painting in a style that is anything but firefighter. On the other hand, Fabio Biondi 's direction is very sober, thus leaving the spotlight to the vocal stage which makes him feel good and thus ensuring a subtle balance between the beaten track and off-piste scenography.
Quant à Alexander Roslavets, il fait un joli numéro de basse bouffe en pope porté sur la vodka, mais il en appellera à son registre le plus puissamment vieux-russe pour la longue plainte douloureuse du vieux forçat de l’acte sibérien, en osmose avec un chœur poignant.
In the Parsifal program currently given at the Grand-Théâtre in Geneva, there is an article, Wagner or the pain of the world , by director Michael Thalheimer who notes: "The first thing that comes to mind about Parsifal -and that's positive- is that this work is impossible… I try to concentrate on the story, the protagonists and the chorus. I really try to tell on stage, end to end, this impossible story. It gives me a lot of pleasure, as well as the singers”.
Dieter Dorn and Jürgen Rose , in keeping with the exact continuity of the previous episodes, give Le Crépuscule a fairly traditional vision, very attentive, but wise and less developed than for the previous episodes. Only the palace of Gibichungs where King Gunther reigns with his sister Gutrune and his half-brother Hagen, son of Alberich and absolute traitor, comes naturally to mark a certain break in the subject: an immaculate white parallelepiped shelters the courtyard while masks of the ancient gods delimit the surroundings. The baritone Mark Stone plays a solid and very musical Gunther and Agneta Eichenholz , after Freia in L'Or du Rhin , a vocally pleasant Gutrune but with a little light means however. Polina Pastirchak , Carine Séchaye and Ahlima Mhamdi reunite with the Daughters of the Rhine, much more capable than in the first opus of the Tetralogy . The three Norns are absolutely impeccable and of a beautiful expressive power: Wiebke Lehmkuhl after having interpreted Erda and with deep bass, Roswitha Christina Müller , a well-timbred mezzo voice and Karen Foster with a radiant soprano. Georg Fritzsch further broadens and intensifies his musical direction for Le Crépuscule , notably during Siegfried's famous Voyage on the Rhine, which he translates with opulence and energy. The same goes for the final scene where he powerfully assists Petra Lang, a little reserved at first, then completely freeing herself, carried by an Orchester de la Suisse Romande which takes on all its colors. The Chœur du Grand Théâtre , directed by Alan Woodbridge , excels in rising to the challenges of this repertoire.
Last part of the famous Wagnerian tetralogy, The Twilight of the Gods offers the pleasure of the synthesis of this titanic musical journey. From the outset the Orchester de la Suisse Romande , under the attentive direction of Georg Fritzsch , distills a continuous pleasure in a proportionate way: ceaseless flow of the strings, winds of a superlative quality, gleaming brass instruments. The conductor's reading is entirely focused on the song, supporting the protagonists with an energetic baton that manages to preserve the balance between pit and stage in an optimal way. Apart from the two central characters, the quality of Agneta Eichenholz 's Gutrune should be underlined, who, in her magnificent red royal toga, offers the splendor of a golden timbre with very beautiful high notes. Another striking character of this Twilight , Jeremy Milner 's black Hagen , whose stature amazes in the incarnation of brute force. Three heads taller than the various actors, he thrills with his cavernous voice and his thrifty acting makes a muted savagery palpable. Finally, let's salute Mark Stone 's superb Gunther who offers a very beautiful baritone voice to his character. During the final trio of the second act, the evocation of revenge, associated with the roar of the brass, is admirable.
Eötvös states, “My music is theatre music”. It is no wonder that the melodies the 77-year-old composer puts on paper are always dramatic, rich in imagery, vivid and, indeed, theatrical. He achieves this with normal orchestration plus a few additional percussion instruments. His music always remains harmonious, no strident discordancies here. As a conductor, he kept the fine-sounding Staatskapelle under gentle control, right down to the last, fading solo violin note. The singers were well cast in this multifaceted work, with astonishingly good English diction. Soprano Victoria Randem sang Alida with lush equanimity and beautiful shadings. Her characterisation of the young mother and her concern for her newborn, to the extent of shutting all extraneous events around her, is remarkable. The very bright, high tenor of Linard Vrielink was a good fit for the desperate but loving Asle, the future father turned nervous murderer.
Eötvös is undoubtedly the master of his craft. Sleepless is beguilingly beautiful, deftly orchestrated, full of consonant octaves and scales and spiced with judiciously placed dissonances, vividly pictorial throughout. The vocal writing is skilful and slick. Eötvös also conducts, and the outcome is both precise and sumptuous. The score is helped along by a superlative cast. As the ill-fated young lovers, Linard Vrielink and Victoria Randem are exquisite — Vrielink all youthful lyricism with an undertone of seething violence, Randem with an ethereal beauty and meltingly lovely top notes. Katharina Kammerloher is a chameleon as both drunken mother and judgmental midwife; Hanna Schwarz makes a formidable Old Woman; Siyabonga Maqungo brings an edgy, creepy tone to his burnished tenor voice as Jeweler. The entire cast, including the offstage women, deliver vocal performances as close to perfection as anyone could wish.
Excellent emploi de Mohamed Haidar, que l’on découvre avec bonheur dans le rôle du mendiant : l’émission, le timbre la ligne le caractère sont bien là, dont l’émotion est renforcée par la splendide écriture de l’orchestre.
Mark Stone is a powerful, flexible Wozzeck, the voice knows how to be humble, but also incisive, projected, voluntary. / Mark Stone est un Wozzeck puissant, souple, la voix sait se faire humble, mais aussi incisive, projetée, volontaire.
Harnessed like a beast of burden to an agricultural cart, Mark Stone in Wozzeck deploys the broad spectrum of his voice in his humiliated cry of despair ‘Wir arme Leut’, but this lament no longer has its character of resistance to the captain, who has left to get dressed. The pronunciation of the title role’s interpretation is intelligible and eloquent, snapping the dental and palatal consonants, lengthening the sibilant and hissing, rounding the vowels. / Harnaché comme une bête de somme à une carriole agricole, Mark Stone en Wozzeck déploie le large spectre de sa voix dans son cri de désespoir humilié ‘Wir arme Leut’ mais cette complainte n'a plus son caractère de résistance face au capitaine, celui-ci étant parti s'habiller. La prononciation de l'interprète du rôle-titre est intelligible et éloquente, faisant claquer les consonnes dentales et palatales, allongeant les sifflantes et chuintantes, arrondissant les voyelles.
Like Milo Rau wringing his neck at La Clémence de Titus , by Mozart, in February, the Geneva stage invited us to a first scenic foray into the world of opera and another tussle with Dido and Aeneas , by Purcell, directed by the dancer and choreographer Franck Chartier , co-founder, in 2000, with the Argentinian dancer Gabriela Carrizo, of the Brussels company Peeping Tom . It is however clear that what appeared to us as a brilliant exercise of virtuosity in the first case touches on the masterpiece this time. Yet these are two radical rereadings, but one diverts the work while the other digs a channel in its meanders. Dido and Aeneashardly offers a plot. Dido, the queen of Carthage, loves Aeneas, the Trojan fugitive whom she has taken in and whom witches, using an evil charm, will push to abandon her. Dido will choose to die on one of the most sublime lamentations in the history of opera.In a huge, heavily paneled bedroom, with library and music room, topped by a parliament hall (a literal "parliamentary chamber") lives old Didi. A rich eccentric surrounded by politicians (the choir, servants and musicians, to whom she plays Purcell's opera over and over again), crazy about Queen Dido, whose deleterious loves and tragic destiny she endorsed. Terrific Eurudike De Beul, actress, performer and singer as we can see in a speech to her people modulated in the manner of a Sufi song of ecstasy. Thriller music invaded the space while, under a mountain of white sheets, contortions seem to mimic a sexual relationship. Didi will appear, legs apart, in the frustration of an unfulfilled desire before falling in love with one of his servants, a wounded man, survivor of war and fighting – a clone of Aeneas. The incidental music created by composer and cellist Atsushi Sakai will counterpoint Purcell's score, inserting itself into the interstices of the narration as well as into the recesses of Dido/Didi's psyche. A queen unable to love, eaten away by an erotic impulse that will end up destroying her. The text produced by the Peeping Tom collective portrays a woman of power, who will not hesitate to straddle her slender and Christ-like lover for a long time. An epileptic body alphabet Disarticulated, tortured, the choreographies are written in an epileptic bodily alphabet. Bodies thrown against each other. The strength of the show is that everything, visually, refers to the music. The tragic sometimes unravels in the grating effects of vis comica, like this woman à la Rossy de Palma moaning and barking when Purcell evokes the royal hunt which will separate the lovers. And what can be said of these suddenly gutted walls, of these windows opened by the wind, giving way to heaps of sand, which will end up invading the space, burying Didi, who dies, naked, on her bed, groomed by a servant, while Dido displays the splendours of her farewell to the world. During the cupids' final chorus, an amorous dance of death sees the woman devouring the heart of the man she loves. You have 35.45% of this article left to read. The following is for subscribers only. CONTENT SPONSORED BYOUTBRAIN Become a Data Scientist in 11 MonthsADVERTISING GREAT LEARNING Become a Data Scientist in 11 Months Dwayne 'The Rock' Johnson Buys Georgia Farm - The Home Was Built For Mr. Johnson’s FamilyADVERTISING MANSION GLOBAL Dwayne 'The Rock' Johnson Buys Georgia Farm - The Home Was Built For Mr. Johnson’s… 6 Actions to Invest in Nuclear FusionADVERTISING THE TECH INVESTOR 6 Actions to Invest in Nuclear Fusion Your car is in high demand! Sell at best priceADVERTISING SELLRIGHT BY SPINNY Your car is in high demand! Sell at best price ₹12,000 Crore US Lottery Now Also Available in IndiaADVERTISING THELOTTER ₹12,000 Crore US Lottery Now Also Available in India
