(review in English below)
A Orquestra da
Metropolitan Opera esteve ao mais alto nível mas, verdadeiramente
sensacional, foi a direcção do maestro James
Levine. Tempos e sonoridade perfeitos, primazia para os cantores, uma
maravilha.
O tenor americano Matthew
Polenzani foi um Ferrando irrepreensível. Voz sempre bem colocada, timbre
belíssimo, potência assinalável e interpretação cénica de qualidade. Transmitiu
uma expressividade vocal marcante.
Também o Guglielmo do barítono russo Rodion Pogossov (um desconhecido para mim) esteve à altura da
personagem, que interpretou com muita qualidade vocal e boa presença em palco.
Isabel Leonard,
mezzo “da casa”, foi uma Dorabella de boa presença cénica e voz bonita e
afinada ao longo de toda a récita. Teve como ponto mais alto a ária È amore un ladroncello, no 2º acto.
*****
Cosi fan tutte, Metropolitan Opera, New York, April 2014
Cosi fan tutte is my favorite Mozart 's opera with libretto by Lorenzo da Ponte. I saw it recently on a day of diluvian rain inNew
York !
The staging, magnificent, is by Lesley Koenig. The whole scenery is of great visual impact, but the first part is fabulous. We see in the background, in the shadows , two boats, which look like a painting. But it is not, we see the people enter in them and one then moves away. The lights (by Duane Schuler) are very effective, creating different atmospheres along the performance. Of the best I have seen. The rest of the scenery is also beautiful, but but the first part is unique.
The Orchestra of the Metropolitan Opera was at the highest level but, truly sensational, was the direction of conductor James Levine. Tempi and perfect sound, primacy for the singers, wonderful.
The soloists were very uniform and excellent.
American tenor Matthew Polenzani was a faultless Ferrando. His voice was powerful and with a beautiful timbre.Also a remarkable stage interpretation.
Also Russian baritone Rodion Pogossov (unknown to me) was a good Guglielmo, who sang with great quality and good stage presence.
Veteran Italian bass baritone Maurizio Muraro was a great Don Alfonso, very correct on stage and showing a strong and refined voice.
Isabel Leonard , mezzo from the " house " , composed Dorabella with good stage presence and beautiful and refined singing throughout the performance. She had the highest moment in the aria È amore un ladroncello in the 2nd act .
Australian soprano Danielle de Niese was an excellent Despina, both in comedy and in vocal performance. She showed great artistic versatilitys, evident when he playied the doctor and the notary characters. She was always very lively, comic and cheerful.
Finally another fantastic interpretation was by young American soprano Susanna Philips who was Fiordiligi. The singer was always very expressive (as recently seen in the excellent Musetta in La Bohème a few weeks ago) and the voice is also magnificent. The timbre is very beautiful, the voice was always above the orchestra, keeping qualitative uniformity in all registers . In dramatic aria from Act 1 Come scoglio she gave us an acrobatic interpretation and almost playful, as it is desirable, contrasting with the more humain and genuine regret in the long aria Per pieta in the 2nd act, which was remarkable. Excellent!
One of those few (unfortunately) performances that I will not forget quickly.
Cosi fan tutte is my favorite Mozart 's opera with libretto by Lorenzo da Ponte. I saw it recently on a day of diluvian rain in
The staging, magnificent, is by Lesley Koenig. The whole scenery is of great visual impact, but the first part is fabulous. We see in the background, in the shadows , two boats, which look like a painting. But it is not, we see the people enter in them and one then moves away. The lights (by Duane Schuler) are very effective, creating different atmospheres along the performance. Of the best I have seen. The rest of the scenery is also beautiful, but but the first part is unique.
The Orchestra of the Metropolitan Opera was at the highest level but, truly sensational, was the direction of conductor James Levine. Tempi and perfect sound, primacy for the singers, wonderful.
The soloists were very uniform and excellent.
American tenor Matthew Polenzani was a faultless Ferrando. His voice was powerful and with a beautiful timbre.Also a remarkable stage interpretation.
Also Russian baritone Rodion Pogossov (unknown to me) was a good Guglielmo, who sang with great quality and good stage presence.
Veteran Italian bass baritone Maurizio Muraro was a great Don Alfonso, very correct on stage and showing a strong and refined voice.
Isabel Leonard , mezzo from the " house " , composed Dorabella with good stage presence and beautiful and refined singing throughout the performance. She had the highest moment in the aria È amore un ladroncello in the 2nd act .
Australian soprano Danielle de Niese was an excellent Despina, both in comedy and in vocal performance. She showed great artistic versatilitys, evident when he playied the doctor and the notary characters. She was always very lively, comic and cheerful.
Finally another fantastic interpretation was by young American soprano Susanna Philips who was Fiordiligi. The singer was always very expressive (as recently seen in the excellent Musetta in La Bohème a few weeks ago) and the voice is also magnificent. The timbre is very beautiful, the voice was always above the orchestra, keeping qualitative uniformity in all registers . In dramatic aria from Act 1 Come scoglio she gave us an acrobatic interpretation and almost playful, as it is desirable, contrasting with the more humain and genuine regret in the long aria Per pieta in the 2nd act, which was remarkable. Excellent!
One of those few (unfortunately) performances that I will not forget quickly.
*****
Esta última ópera da triologia "da Ponte" é fabulosa. O 2.º acto então… É impressionante a modernidade, àquela época, dos temas que trata. E a sua actualidade (também naquela época): fala no magnetismo animal de Mesmer (!), corrente em voga desde nem há 10 anos, e ridiculariza-a! (com correcção, diga-se!).
ResponderEliminarA récita do MET Live foi espectacular. A encenação foi eficaz (mas não espanta) e o nível dos intérpretes também, com destaque para Susanna Philips e Maurizio Muraro. Destaca-se também de Niese pela enorme comicidade. E que dizer de James Levine? Só pela abertura já valia a pena: sublime som mozartiano.
E na próxima temporada Live HD teremos a ópera que falta da trilogia Mozart-da Ponte: Le Nozze di Figaro, também dirigidas por Levine e com o Conde de Peter Mattei.
ResponderEliminarHey, my friends
ResponderEliminarLe nozze di figaro,with the metropolian and Levine,SUPER
Abraço