Critiques de productions passés
6'Samantha Crawford made a young and personable Santuzza. Crawford has started singing the jugend-dramatisch Wagner roles, but her voice still felt lithe and light, suiting the youth of the character…Overall this was an engaging and sympathetic performance. Crawford made Santuzza youthfully impulsive and her narration to Sarah Pring's Mamma Lucia explaining the situation was wonderfully expressive.’
'Both casts deliver the vocal goods. In Cavalleria, Samantha Crawford voices the desperation of excommunicated Santuzza.'
Maria Gulik is also a revelation as Madame Arvidson, revealing a deep mezzo-soprano and projecting a strong mysterious allure. It is interesting how her look turns to one of knowing contempt when Gustavus dismisses her prophecy as mad or a joke, and then sorrow as she sees how he really does not grasp the danger.
A kind of fairy godfather without a wand, Alidoro is given a dignified, solicitous and sonorous interpretation by Blaise Malaba.
Making the best of limited stage facilities, Richard Studer shrewdly adopts a one-size-fits-all design which neatly amplifies the contrasting fortunes of, and social distinctions between Don Magnifico and his daughters and Prince Ramiro, his tutor and valet who, together, shape over two hours of comic interaction, the whole given slick, clear-sighted direction by Victoria Newlyn.
