Pregledi pretekle produkcije
8Verdi's opera of love and politics returns in Nicholas Hytner's production
ixteenth-century Spain resembles a prison or a madhouse in Nicholas Hytner’s Royal Opera production of Don Carlo, first seen in 2008, now on its third revival. Though it has its flaws, it reminds us of the innate bleakness of Verdi’s vision, with its irresolvable clashes between church and state, liberalism and oppression, politics and desire.
To stage a successful production of Strauss’ “Elektra” is a monumental feat all its own, but to do it with such sophistication and finesse as the Metropolitan Opera’s Friday night performance is herculean." The complexity of the libretto and score are second to none in the operatic repertory. It was the first of several famed collaborations between Austrian librettist Hugo von Hofmannsthal, one of the founders of the Salzburg Festival, and one of the great champions of late romanticism and early modernism, Richard Strauss. The demands on the singers are staggering as they attempt to navigate the extremities of their instruments while both soaring above and piercing through one of opera’s most intricate and robust orchestral compositions
in this revival, you could home in even closer to just its two sisters, antipodal soprano roles sung by Nina Stemme and Lise Davidsen with floodlight luminosity and painfully human sensitivity. Chéreau’s staging, which premiered at the Aix-en-Provence Festival in 2013 before coming to the Met six years ago, doesn’t seem to have aged a day. And it’s difficult to imagine that happening soon with a placeless production that suits the timelessness Sophocles’ classic tragedy.
A Grimes of this magnitude has the potential to become perfection, raising memories of Vickers and dear Philip Langridge. Absolute perfection is attained by condutor Simone Young, who received the loudest ovations of the night from a near-capacity house. This score is under her skin and never sounded more thrilling and alive. The Staatsopernorchester was its best
The opportunity to hear Kaufmann in his debut as Peter Grimes, as well as Davidsen in her first staged performance as Ellen Orford.
Any opportunity to see the Orchestra of the Royal Opera House excavated from its pit is to be welcomed, and a memorable performance of Verdi’s Messa da Requiem saw them perform in unison with the excellent Royal Opera Chorus, which continues to bloom under its director William Spaulding. Benjamin Bernheim’s tenor gave real force to the quartet; gleaming and incisive, his voice is the vocal equivalent of a knockout punch, with an energy to it that brought dynamism to the performance. Of the four, his attention to text and the feeling that was infused with what he was singing stood out, particularly in the vibrant delivery of the Kyrie. He exhibited a strong high register and the confidence to deploy it effectively.Gábor Bretz provided a smooth, chocolatey underlay with his distinct bass. Phrasing was elegant and he showed a full uncompromising lower register that melded serenely against the orchestra, and providing operatic intensity to the Confutatis. Mezzo-soprano Jamie Barton completed the quartet, wielding a cavernous lower register that offered a rewarding contrast against Davidsen’s bright top. The orchestra, who from the opening with the sensitive solo cello gave a subtle and dynamic performance. Full credit to the brass section whose intensity reinforced the power of the Dies irae. Perhaps what stood out most was the silence at the end; held back by Pappano, the audience was most responsive in its quietude. A very apt way to end this splendid performance.
