tag:blogger.com,1999:blog-67322741918216247552024-03-13T03:25:46.051+00:00Fanáticos da Ópera / Opera Fanaticswagner_fanatichttp://www.blogger.com/profile/09624184063174356078noreply@blogger.comBlogger1028125tag:blogger.com,1999:blog-6732274191821624755.post-80133524172705503432023-01-16T22:13:00.004+00:002023-01-16T22:13:57.894+00:00 AIDA, METropolitan OPERA, Dezembro / December 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz7pqhQ2XeO1NAC2r_Qq06s9HWkXmiqsYNbgLKeOLlqBDenjfvXvbj01c7M201Nk804zxrfxQp9w8EM1Gt4TIOJf7Wk6ik4V2qKLdhNVC4Dy-UvlOtbNb6sbPa6ddi_fBOyKvIu3fjvgafkZ82KZDkbTxdLzvYjaQdoBrImgsWq9PZjEoEGGNoCdoL/s636/cartaz.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="636" data-original-width="413" height="417" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz7pqhQ2XeO1NAC2r_Qq06s9HWkXmiqsYNbgLKeOLlqBDenjfvXvbj01c7M201Nk804zxrfxQp9w8EM1Gt4TIOJf7Wk6ik4V2qKLdhNVC4Dy-UvlOtbNb6sbPa6ddi_fBOyKvIu3fjvgafkZ82KZDkbTxdLzvYjaQdoBrImgsWq9PZjEoEGGNoCdoL/w271-h417/cartaz.jpg" width="271" /></a></div><p style="text-align: center;">(Review in English below)</p><p>É a última vez que a monumental encenação clássica da <b>Aida</b>, de <b>Sonja Frisell</b>, estará em cena na <b>Metropolitan Opera</b>. É uma produção grandiosa, que ilustra como nenhuma outra o significado de “grande ópera” que, embora datada, tem cenários sumptuosos, muitos elevadores, centenas de elementos em palco incluindo cavalos que, nesta noite, um deles quase destruiu uma parte do cenário mas conseguiu, a custo, ser controlado. É um contraste absoluto com a encenação deplorável que vi há poucos meses em Londres.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq4v5ha_3-G1Nz3m_xm__rAw19rDreEOM1xmPLR_fmnwVM9ihteXjddFliJ8Mz8uTxjHwW9MY1JLPPS4IPImdhyq6VtnmP_aRq4YhQEGUtjXO05gU9ndM4ErXlthy03D_xqQrEp03iPfTcMuIaKbvQkjSkmuGU-oAGdIv7tDoSiZSLCre82QtSnCHR/s615/cartaz%20pequeno.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="615" data-original-width="471" height="415" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq4v5ha_3-G1Nz3m_xm__rAw19rDreEOM1xmPLR_fmnwVM9ihteXjddFliJ8Mz8uTxjHwW9MY1JLPPS4IPImdhyq6VtnmP_aRq4YhQEGUtjXO05gU9ndM4ErXlthy03D_xqQrEp03iPfTcMuIaKbvQkjSkmuGU-oAGdIv7tDoSiZSLCre82QtSnCHR/w318-h415/cartaz%20pequeno.jpg" width="318" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD_ojWNHX_1YyGEJKrIpEwn2DG0rE-sJEY7m1WyBkc-tl4_vvCki-9k_e5g8C12EhFaFOGsSXZw6Zvl2Da_fLrlr7jx4kFqG7Idjey8e08NroEAc6AXYTaj0zLwdHE6V-iYwv0KwV6aNdK7hoR6JpUD8mqjdKoIK_sbGJ-x9ouXzL5diz-GyFgtG4X/s640/cenario%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD_ojWNHX_1YyGEJKrIpEwn2DG0rE-sJEY7m1WyBkc-tl4_vvCki-9k_e5g8C12EhFaFOGsSXZw6Zvl2Da_fLrlr7jx4kFqG7Idjey8e08NroEAc6AXYTaj0zLwdHE6V-iYwv0KwV6aNdK7hoR6JpUD8mqjdKoIK_sbGJ-x9ouXzL5diz-GyFgtG4X/w396-h297/cenario%201.jpg" width="396" /></a></div><p><br /></p><p>O maestro foi <b>Paolo Carignani</b> e a Orquestra e o Coro tiveram interpretações excelentes. A ópera presta-se a isso.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8JOcMAvLcJ9AP54_7HaOt76Gr51Fn3BSGMnlow4ltvhO4Xgp4OsThyYlj6BmT8Xi01PpUDf3oLVAynPyu9MnUZYufMgZuunAmrycKF4jVNdQhCK_sOi4VhwaJKczZxr9FFqo2advYQ5BBJX9U58p6eyA4Jn3bfCv739Ux0E6imXw8hmFrMOQeKYZ3/s640/maestro%20e%20orquestra.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8JOcMAvLcJ9AP54_7HaOt76Gr51Fn3BSGMnlow4ltvhO4Xgp4OsThyYlj6BmT8Xi01PpUDf3oLVAynPyu9MnUZYufMgZuunAmrycKF4jVNdQhCK_sOi4VhwaJKczZxr9FFqo2advYQ5BBJX9U58p6eyA4Jn3bfCv739Ux0E6imXw8hmFrMOQeKYZ3/w382-h287/maestro%20e%20orquestra.jpg" width="382" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>De entre os solistas, algumas diferenças qualitativas. Começando pelos melhores, brilhou a mezzo <b>Olesya Petrova</b> que foi uma Amneris de excelência. Voz poderosa, registo grave impressionante e sempre afinada.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWx1tJYK2SHSQRK65YNTOc-l7CGG3HDlrTzGvt4gpfjQdSjH6N5CPR56JfU9e5lBrDevb4TTwWbiV2HMV0-3TUi8t4MQ_GD5mHkp5I8lSyUOLYKnGuoic2yyKyWS-9sC2owPibRYzXnCqvN9CfIyeBhrEGgQ5pV4Zs4gkrJr1vyPDZsJ3ZSSBjK95W/s240/Amneris.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="231" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWx1tJYK2SHSQRK65YNTOc-l7CGG3HDlrTzGvt4gpfjQdSjH6N5CPR56JfU9e5lBrDevb4TTwWbiV2HMV0-3TUi8t4MQ_GD5mHkp5I8lSyUOLYKnGuoic2yyKyWS-9sC2owPibRYzXnCqvN9CfIyeBhrEGgQ5pV4Zs4gkrJr1vyPDZsJ3ZSSBjK95W/w286-h297/Amneris.jpg" width="286" /></a></div><p>Também o Radamés de <b>Brian Jadge </b>esteve ao mais alto nível, tanto na interpretação vocal como cénica. Muito bom.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8XtPmrhtXvvqDeknEfGIbYPrf5GjlWr11ebClLbkVGiYPm6r2fVJj-DTMFRbXmisyQY7bya_V8fcuNCBDp-rzP2lB5O1wOnRYXepJGcTKzbt5y84j-jmc1evkP4p0h3cUOcGmxdyflErRaHWxnHstV5nKsyyKo7ArgZk67diy_1MA8ukq1EiBMdOO/s264/Radames.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="245" data-original-width="264" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8XtPmrhtXvvqDeknEfGIbYPrf5GjlWr11ebClLbkVGiYPm6r2fVJj-DTMFRbXmisyQY7bya_V8fcuNCBDp-rzP2lB5O1wOnRYXepJGcTKzbt5y84j-jmc1evkP4p0h3cUOcGmxdyflErRaHWxnHstV5nKsyyKo7ArgZk67diy_1MA8ukq1EiBMdOO/w308-h286/Radames.jpg" width="308" /></a></div><br /><p>Os baixos <b>Alexandros Stavrakakis </b>(Rei) e, sobretudo, <b>Christian Van Horn</b> (Ramfis) também marcaram muito positivamente as suas interpretações vocais. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLj3ODNgCLp1KrHgE2mNqau_9cu8ZlMjZBzu6Ks57nI0QkU_83eNyOp8aBcNZN8m6SHt3IsycANJ1r2KzQXKz33JDgm3r0bIB6I8Z0YYBLhd3PP6BHDamHeCiocKVKAHZ1et1zw6FmrijEsnJzdjx7AkbcOc-Nu05XHLXXxveIHg1tFTSWKJsoZE0A/s270/Ranfis%20:%20Rei.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="270" data-original-width="230" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLj3ODNgCLp1KrHgE2mNqau_9cu8ZlMjZBzu6Ks57nI0QkU_83eNyOp8aBcNZN8m6SHt3IsycANJ1r2KzQXKz33JDgm3r0bIB6I8Z0YYBLhd3PP6BHDamHeCiocKVKAHZ1et1zw6FmrijEsnJzdjx7AkbcOc-Nu05XHLXXxveIHg1tFTSWKJsoZE0A/w208-h244/Ranfis%20:%20Rei.jpg" width="208" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrPUA47gMHU2JmnkiNcDmu5mod2yI7QAmvsyWDkw00n4Aa4pSuwtMgO2HWVlVi-9jRQosSL0fE5yfc4juKiNe-dEG04i2ssouK7Bi-oobTqH2v38__LdAhxtHYxWtMAqehaW6g4r7YLgTLZtlx-zCSd89ajGy-Yxiy9Cy3Sf-pLVLT5MehkPkZOAmn/s290/Rei%20:%20Ranfis.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="290" data-original-width="213" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrPUA47gMHU2JmnkiNcDmu5mod2yI7QAmvsyWDkw00n4Aa4pSuwtMgO2HWVlVi-9jRQosSL0fE5yfc4juKiNe-dEG04i2ssouK7Bi-oobTqH2v38__LdAhxtHYxWtMAqehaW6g4r7YLgTLZtlx-zCSd89ajGy-Yxiy9Cy3Sf-pLVLT5MehkPkZOAmn/w192-h261/Rei%20:%20Ranfis.jpg" width="192" /></a></div><p><br /></p><p>O barítono <b>George Granitze</b> fez um Amonastro algo estático mas muito bem no canto, sempre correcto e bem audível.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyT0e4Fgh47qtUz9MwWt0BrX4o0EB8smwxDwKgwjBbHY4NLXxKpFyWGyVRtD0T1ckmIXyEThzrRxVTjVEH8zd0j7n9BlWp__PhwAPjerwLwlVf7gaAls966djOjMrh90czRwNNWLLYrfg10ynqh664CDs0aX1CqBQTxa5WwRW6bRZYqUSAJiAa4WOw/s269/Amonastro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="269" data-original-width="220" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyT0e4Fgh47qtUz9MwWt0BrX4o0EB8smwxDwKgwjBbHY4NLXxKpFyWGyVRtD0T1ckmIXyEThzrRxVTjVEH8zd0j7n9BlWp__PhwAPjerwLwlVf7gaAls966djOjMrh90czRwNNWLLYrfg10ynqh664CDs0aX1CqBQTxa5WwRW6bRZYqUSAJiAa4WOw/w265-h324/Amonastro.jpg" width="265" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>A grande decepção foi a Aida de <b>Latonia Moore</b>. Em cena foi muito estática e no canto esteve muito abaixo do desejável. Cantou alto, foi bem audível, mas a Aida é muito mais que potência vocal. Falhou várias notas, foi pouco expressiva e a aria principal do 3º acto foi um desastre, sobretudo no (ausente) registo agudo! Como cantora “da casa” foi muito aplaudida, mas esperava-se muito melhor!</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiglz00TSyUWReHAAcNv9k5ltAmoAUuAaTZdILf-CqjZqgQ0OGkIiKvd32BclnlqW1SSEXnuKcQlgsN7izZCf1gIvOBPqkYAEJZgSRJ8GEBQUTLjr4HbcuRuhpbG5HwbDPGCTjEfRUjmG3Yoi0WUDrhldFD_AHO_oTo9xkrcaFXgvDWLQKy6yrBIKCo/s281/Aida.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="281" data-original-width="279" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiglz00TSyUWReHAAcNv9k5ltAmoAUuAaTZdILf-CqjZqgQ0OGkIiKvd32BclnlqW1SSEXnuKcQlgsN7izZCf1gIvOBPqkYAEJZgSRJ8GEBQUTLjr4HbcuRuhpbG5HwbDPGCTjEfRUjmG3Yoi0WUDrhldFD_AHO_oTo9xkrcaFXgvDWLQKy6yrBIKCo/w311-h313/Aida.jpg" width="311" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJxuVjM_0EMs96qhv974VNLuj4WlYX21W1uiwVsp7acWvSPycWoCqSilauVJ9esGIkZXk0b2Gb8u-bWxbs15nKmmX1i5m0W6ZuLx3LTfmN-CuzXAMElcgDNPiAR6ju7tVkvWEIzEw9HhqORyXprDprANysNMzgeKBQy_RtZLkZS8-cI2aiahmtjvZ/s399/Aida%20e%20Radames.jpg" style="margin-left: 1em; margin-right: 1em;"><br /><img border="0" data-original-height="303" data-original-width="399" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJxuVjM_0EMs96qhv974VNLuj4WlYX21W1uiwVsp7acWvSPycWoCqSilauVJ9esGIkZXk0b2Gb8u-bWxbs15nKmmX1i5m0W6ZuLx3LTfmN-CuzXAMElcgDNPiAR6ju7tVkvWEIzEw9HhqORyXprDprANysNMzgeKBQy_RtZLkZS8-cI2aiahmtjvZ/w374-h284/Aida%20e%20Radames.jpg" width="374" /></a></div><br /><p>Com outra Aida teria sido um espctáculo próximo da perfeição.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXzfQ8OAU5YljlaCNzNuxKP0KUgovYHqdGNGdZCRq_Vs9dAvNFVIlX5hKYnmQ8Ca9xsvoSN7PB2LuXQ5nKigW94584gpDmgD_MGyZQ-xCe6yxjY3AKCjP9j5dKFOK6cS5A-jTvzqGaMKCJbPH-YhKy1sSB-xBOi5lMQg86PLRFeFCnHCSOFZJTXrck/s602/tutti1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="269" data-original-width="602" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXzfQ8OAU5YljlaCNzNuxKP0KUgovYHqdGNGdZCRq_Vs9dAvNFVIlX5hKYnmQ8Ca9xsvoSN7PB2LuXQ5nKigW94584gpDmgD_MGyZQ-xCe6yxjY3AKCjP9j5dKFOK6cS5A-jTvzqGaMKCJbPH-YhKy1sSB-xBOi5lMQg86PLRFeFCnHCSOFZJTXrck/w385-h172/tutti1.jpg" width="385" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6sqMQgPcuGsK3kxmcuiRBKHNuQUncsYuk0yEx1AtwPOpwkcSCBiM24YKTaDytsvz9v-pFQlK_VH3Ua1lZ0JKcA89FERBS--Htlf7bfqoZlIYu0uGGq3tZMzg6jvMLJon2PVSPIyfgBZye7YEQBs9BcyJJ2tO2t8O8858Z8h66F3784_RdDK4rdSSt/s599/tutti2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="599" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6sqMQgPcuGsK3kxmcuiRBKHNuQUncsYuk0yEx1AtwPOpwkcSCBiM24YKTaDytsvz9v-pFQlK_VH3Ua1lZ0JKcA89FERBS--Htlf7bfqoZlIYu0uGGq3tZMzg6jvMLJon2PVSPIyfgBZye7YEQBs9BcyJJ2tO2t8O8858Z8h66F3784_RdDK4rdSSt/w402-h180/tutti2.jpg" width="402" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBP0FTSEBqWNU1P9mSHGKjjAsWjiHBH8GsP3r5V6MaUpL8qkNEAURpSjlDXTa7C13QoT0_NGLp8kz6RzEeP30oqI8pW3iT2EirdUXMxn5zXl2yMCXZA2ofgya5NVNq1MbVauKNm1xjJULquLFy412z4dUGUGEwqUxF-_SH2ByCGKzq51cGYOOvCR8M/s609/tutti3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="278" data-original-width="609" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBP0FTSEBqWNU1P9mSHGKjjAsWjiHBH8GsP3r5V6MaUpL8qkNEAURpSjlDXTa7C13QoT0_NGLp8kz6RzEeP30oqI8pW3iT2EirdUXMxn5zXl2yMCXZA2ofgya5NVNq1MbVauKNm1xjJULquLFy412z4dUGUGEwqUxF-_SH2ByCGKzq51cGYOOvCR8M/w401-h183/tutti3.jpg" width="401" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEawE3DRPj-mie273EPi1cDUyL66Xmdjq4i7pGoXqjflbFwlxu2BATy8PJKozYLeo9aG40Y1YWWrnFdFMX8o5YQkb6CyGPjPAj7N7UmK7Byxj1U9z6vkxNnXb5VwHA3o0l9mRuh6BU_ZfpdC1p-6DokHjkivzsXm94dvz5bY_Z972suQRhPBD5_c7F/s568/tutti4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="568" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEawE3DRPj-mie273EPi1cDUyL66Xmdjq4i7pGoXqjflbFwlxu2BATy8PJKozYLeo9aG40Y1YWWrnFdFMX8o5YQkb6CyGPjPAj7N7UmK7Byxj1U9z6vkxNnXb5VwHA3o0l9mRuh6BU_ZfpdC1p-6DokHjkivzsXm94dvz5bY_Z972suQRhPBD5_c7F/w413-h195/tutti4.jpg" width="413" /></a></div><br /><p><span style="font-size: x-large;">****</span></p><p><span style="color: #2b00fe; font-size: medium;">AIDA, MEtropolitan OPERA, December 2022</span></p><p>It is the last time that<b> Sonja Frisell</b>'s monumental classic production of <b>Aida</b> will be staged at the <b>Metropolitan Opera</b>. It is a grandiose production, illustrating like no other the meaning of “grand opera” which, although dated, has sumptuous sets, many elevators, hundreds of elements on stage including horses. Tonight one of them almost destroyed part of the set but managed, with difficulty, to be controlled. It is an absolute contrast to the deplorable staging I saw in London a few months ago.</p><p>The maestro was <b>Paolo Carignani </b>and the Orchestra and Chorus had excellent performances. Opera lends itself to this.</p><p>Among the soloists, some qualitative differences. Starting with the best, mezzo <b>Olesya Petrova</b> was an Amneris of excellence. Powerful voice, impressive bass register and always in tune.</p><p><b>Brian Jadge</b>'s Radamés was also at the highest level, both in vocal and scenic interpretation. Very good.</p><p>Bass <b>Alexandros Stavrakakis</b> (King) and, above all, <b>Christian Van Horn </b>(Ramfis) also marked their vocal interpretations very positively.</p><p>The baritone <b>George Granitz</b>e made an Amonastro somewhat static but very good in the singing, always correct and very audible.</p><p>The big disappointment was <b>Latonia Moore</b>'s Aida. On stage she was very static and in the singing she was far below desirable. She sang loudly, it was very audible, but Aida is much more than vocal power. She missed several notes, was not very expressive and the main aria of the 3rd act was a disaster, especially in the (absent) high register! As a “house” singer, she was highly applauded, but much better should be expected!</p><p>With a different Aida it would have been a performance close to perfection.</p><p><br /></p><p><span style="font-size: x-large;">****</span></p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com3tag:blogger.com,1999:blog-6732274191821624755.post-54017872762114549052023-01-08T00:03:00.002+00:002023-01-08T00:03:54.168+00:00 RIGOLETTO, METropolitan Opera, Dezembro / December 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6PaAeGkGXsYa0Cg_yhL9wjGTXiZ95BTqAyeWxr2h2IDbIOo9eHPgDqRcUUzXoXj5oQ5eoSM8W36Bbs5jvGfHlwrRRnrhIBEjLV_5Mgw5AlhyJMN1PvPYbWOpmyTFKS0BG71051qZPvFKDE-pVrYADEW5fB1W7Lya6M0DanrxH3TuN8v2Tge3XBgXH/s631/Cartaz%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="631" data-original-width="354" height="532" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6PaAeGkGXsYa0Cg_yhL9wjGTXiZ95BTqAyeWxr2h2IDbIOo9eHPgDqRcUUzXoXj5oQ5eoSM8W36Bbs5jvGfHlwrRRnrhIBEjLV_5Mgw5AlhyJMN1PvPYbWOpmyTFKS0BG71051qZPvFKDE-pVrYADEW5fB1W7Lya6M0DanrxH3TuN8v2Tge3XBgXH/w299-h532/Cartaz%201.jpg" width="299" /></a></div><p style="text-align: center;">(review in English below)</p><p>A realização de <b>Bartlett Sher </b>da ópera<b> Rigoletto </b>de <b>Verdi</b> foi novamente levada à cena na <b>Metropolitan Opera </b>de Nova Iorque. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTD65n9dcAV21jHZcidL-V0xWAgWXNrK8QGiBjvPD4G-iLuSb_MfdTWMPQGKi03pyQE2mAIL7yKWeqLzg7qdz8ystLbiduwi1hRu-Bj6wwnW4Im18FRs4h6jcPZ5tSVTKgkTPU_DZWmm161_jzwmg1ruQWcSmwLGxz_bPHmNUfkZ0ZoAcSWG16sTA7/s566/cartaz%20pequeno.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="566" data-original-width="460" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTD65n9dcAV21jHZcidL-V0xWAgWXNrK8QGiBjvPD4G-iLuSb_MfdTWMPQGKi03pyQE2mAIL7yKWeqLzg7qdz8ystLbiduwi1hRu-Bj6wwnW4Im18FRs4h6jcPZ5tSVTKgkTPU_DZWmm161_jzwmg1ruQWcSmwLGxz_bPHmNUfkZ0ZoAcSWG16sTA7/w323-h398/cartaz%20pequeno.jpg" width="323" /></a></div><p>A acção passa-se na Alemanha, na república de Weimar, mas é uma encenação clássica, vistosa e onde as componentes principais da opera estão presentes e representadas de forma bem perceptível.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmSwR8kkY6h7KaaaVuQdgi_ULJdmYpacg96bptNiktxAcfx1e0Y1sNIRHdg9nTBc2pIFl7nkEK6rC_nE2IX7G4K4lZiq9r0R5RaQl1WAgcv0IZ2aK2gVjawKBCotqHiRxvyFZ8XfPII2AWlSZTPlt9pmqqIiHImmPmNPw-LKesTeu82sa57h1Ifv0Z/s640/cortina.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmSwR8kkY6h7KaaaVuQdgi_ULJdmYpacg96bptNiktxAcfx1e0Y1sNIRHdg9nTBc2pIFl7nkEK6rC_nE2IX7G4K4lZiq9r0R5RaQl1WAgcv0IZ2aK2gVjawKBCotqHiRxvyFZ8XfPII2AWlSZTPlt9pmqqIiHImmPmNPw-LKesTeu82sa57h1Ifv0Z/w408-h306/cortina.jpg" width="408" /></a></div><br /><p>A direcção musical de <b>Speranza Scappucci</b> não esteve à altura do espectáculo. Houve vários desencontros entre a orquestra e os cantores e os ritmos impostos nem sempre foram os mais adequados à acção. Foi pena porque a Orquestra e o Coro estiveram em grande.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwubn81pydHAynjpc9sWSvtFP2Le8R1fua-vqd5u1lMGzf92qtU7YlNbbE8bWt39QfyPto-9yQWCPb6KPIfEyOt3GbzbQLS4btA20sIy1b-xlbW82VOlBDShUFU12VVRqqOvNmjdx76WRAxbLM_CRfFQTM92uBRdVDJRc4J6rh0WPpBEKIzreQzMi0/s640/maestrina.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwubn81pydHAynjpc9sWSvtFP2Le8R1fua-vqd5u1lMGzf92qtU7YlNbbE8bWt39QfyPto-9yQWCPb6KPIfEyOt3GbzbQLS4btA20sIy1b-xlbW82VOlBDShUFU12VVRqqOvNmjdx76WRAxbLM_CRfFQTM92uBRdVDJRc4J6rh0WPpBEKIzreQzMi0/w410-h308/maestrina.jpg" width="410" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>Desta vez aconteceu algo raro na ópera, todos os solistas foram excelentes!</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj62O-yEMLaDTqBMwnfn1StUmSl8cCTFjoZEzy1F0dIYgHMO2l2h0PXIZvkSHpPYy0_IDAr-hi9XU-oYPdPsaIwopfh_niplC-uMNpMZCxrNmijA8ddVFQwhBVgsgWn8XyRa8ZU4jpLNU6Bn4i-pb7lizPa6UfTyKbiNh2mNGDrwaV8KrMLo73c3oZF/s630/palco%20final.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="386" data-original-width="630" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj62O-yEMLaDTqBMwnfn1StUmSl8cCTFjoZEzy1F0dIYgHMO2l2h0PXIZvkSHpPYy0_IDAr-hi9XU-oYPdPsaIwopfh_niplC-uMNpMZCxrNmijA8ddVFQwhBVgsgWn8XyRa8ZU4jpLNU6Bn4i-pb7lizPa6UfTyKbiNh2mNGDrwaV8KrMLo73c3oZF/w386-h236/palco%20final.jpg" width="386" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>O tenor francês <b>Benjamin Bernheim</b> foi um Duque fabuloso. Tem uma voz ampla, fresca, timbre muito bonito, potencia impressionante e grande musicalidade. E em palco foi um verdadeiro actor, a figura jovem e magra ajuda muito.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL0ShXznJhFov5fW-Lbp7lb3LCExgbDNfrPZSS06XojMHPkPOGR-nAdUde0rSkdyIGmHFLn7w7JDbEoeJEWyg6kfjW6AfT8PSrGb2avQDOOPg6H1OpvP-aEKjbvUjRtAonOon3NPfWCZhZP0yOX7oHFhPfuhDeOpnvh0w0pv_mevvRFIrVJwKZY4Iw/s216/Duque2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="216" data-original-width="187" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL0ShXznJhFov5fW-Lbp7lb3LCExgbDNfrPZSS06XojMHPkPOGR-nAdUde0rSkdyIGmHFLn7w7JDbEoeJEWyg6kfjW6AfT8PSrGb2avQDOOPg6H1OpvP-aEKjbvUjRtAonOon3NPfWCZhZP0yOX7oHFhPfuhDeOpnvh0w0pv_mevvRFIrVJwKZY4Iw/w238-h275/Duque2.jpg" width="238" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>A soprano italiana <b>Rosa Feola f</b>ez uma Gilda perfeita. Voz sempre audível sobre a orquestra, afinada, bonita e expressiva. Em palco também esteve perfeita.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1gXZOjeNJzfWgsD7aVAQUXYs75NmWc6tTFrCgCEt4SLMAXhppeYLdRjGnCJhbaxo1Qckv_di12Wo_DdypBn8viz1wVNaQ1sdPK-WjN4xgUXh_nnjz-GUHDuyjVyO6RtAWCSDmzBw8tUND-SoU8i093dtTQLIjkUF_N2JLTQCEhI8msl0x6yUHa-u1/s217/Gilda.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="217" data-original-width="160" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1gXZOjeNJzfWgsD7aVAQUXYs75NmWc6tTFrCgCEt4SLMAXhppeYLdRjGnCJhbaxo1Qckv_di12Wo_DdypBn8viz1wVNaQ1sdPK-WjN4xgUXh_nnjz-GUHDuyjVyO6RtAWCSDmzBw8tUND-SoU8i093dtTQLIjkUF_N2JLTQCEhI8msl0x6yUHa-u1/w215-h291/Gilda.jpg" width="215" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>O barítono norte-americano <b>Quinn Kelsey</b> foi um Rigoletto como há muito tempo não via ao vivo. É um papel difícil, actualmente há poucos cantores que o cantam e representam correctamente e Kelsey é um deles. Foi fantástico.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoSnZryZ-3M_rIDi9XcpseTAM7vKJzu4qlnlpc28x9OzHvTTvY_r0-3kfXPwr9NdO6uQkDj1b4_VSOIv_lb5-3wim6pinntTR3B6wgxIwJL0Dnfr456LRjZeLOHBZyC2oGGc5XjlRbs7h9PBF_USOx1SVfx3fx19b1XNLS3zSLBr5kABSQNr2fxwN9/s232/Rigoletto.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="232" data-original-width="190" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoSnZryZ-3M_rIDi9XcpseTAM7vKJzu4qlnlpc28x9OzHvTTvY_r0-3kfXPwr9NdO6uQkDj1b4_VSOIv_lb5-3wim6pinntTR3B6wgxIwJL0Dnfr456LRjZeLOHBZyC2oGGc5XjlRbs7h9PBF_USOx1SVfx3fx19b1XNLS3zSLBr5kABSQNr2fxwN9/w234-h286/Rigoletto.jpg" width="234" /></a></div><p><br /></p><p>Merecem também destaque pelas suas óptimas actuações <b>Bradley Garvin</b> como Monterone,</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzav5D0nu9K6tue1Bus0zLo9GSZtXgAxhd2_7kOpfctwW1oFiDYKfM4kzdsMGvi8L5QPCzwCIEcCcyVcx81bXIKOhprNdVJJA2FdbhfVYNY8CHnAXDIeVeNmvbNcsLSriSgdtxzgAyf8GTzDOeHYB3CBgOTxFtUw0Hc6MM3dcWKrLWj2tBaXH91wjT/s228/Monterone.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="228" data-original-width="204" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzav5D0nu9K6tue1Bus0zLo9GSZtXgAxhd2_7kOpfctwW1oFiDYKfM4kzdsMGvi8L5QPCzwCIEcCcyVcx81bXIKOhprNdVJJA2FdbhfVYNY8CHnAXDIeVeNmvbNcsLSriSgdtxzgAyf8GTzDOeHYB3CBgOTxFtUw0Hc6MM3dcWKrLWj2tBaXH91wjT/w222-h248/Monterone.jpg" width="222" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>o fantástico <b>John Relyea </b>como Sparafucile,</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMv5iTDtl55otduIVK5UFBwdxS5C5pQj6Aj7CVBvdo-s6deFQ8SCUD07WZZGVYTC1tBGvzq8NLHR1BH4nkg_mh3677ZtT0RT-pWD0G0XwJ5MzWRDaXinJfBREgehEUuPsQJfSQa68vwtzVaTA_H2ZCbZXjRQNhTP6CknPIgQAN7DM4001iUMMIOppG/s227/Sparafucile.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="227" data-original-width="170" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMv5iTDtl55otduIVK5UFBwdxS5C5pQj6Aj7CVBvdo-s6deFQ8SCUD07WZZGVYTC1tBGvzq8NLHR1BH4nkg_mh3677ZtT0RT-pWD0G0XwJ5MzWRDaXinJfBREgehEUuPsQJfSQa68vwtzVaTA_H2ZCbZXjRQNhTP6CknPIgQAN7DM4001iUMMIOppG/w206-h274/Sparafucile.jpg" width="206" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>e a impressionante <b>Aigul Akhmetshina</b> como Maddalena.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKbNAehP8gU6a3qQuNuWgHrlZeRVZ92yIT0xD-fr0SZtcW7-SGYIUzhgSYj-9cuUu1lsyZBZ7YkCsg4rYSiB5vE_2LV3cmHkrET1ssuZFLBkCqIdh9kConILgw2wxhlAO-qq_m-T4LwtF8A-OR70c1vUv_PXMmK-7zndx3WqoItx2nwOZcbpltVtWK/s201/Maddalena.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="201" data-original-width="179" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKbNAehP8gU6a3qQuNuWgHrlZeRVZ92yIT0xD-fr0SZtcW7-SGYIUzhgSYj-9cuUu1lsyZBZ7YkCsg4rYSiB5vE_2LV3cmHkrET1ssuZFLBkCqIdh9kConILgw2wxhlAO-qq_m-T4LwtF8A-OR70c1vUv_PXMmK-7zndx3WqoItx2nwOZcbpltVtWK/w218-h244/Maddalena.jpg" width="218" /></a></div><br /><p>Um espectáculo fabuloso.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyf5c-5ag7cqpIW5lR8GBFZw2rWkapcK9l7oGDYp0byh1G3tMa6lwnfXazfBixdzTjDYYvVFaJBnOc5OM_NZ9cSNhtkS2Xc_BtAE8kaMalGgSC7ZudkCtrt-CPKL2PvJhxAeN6wsOn1nN0SWZ4OikcPi42GDYeQDfRL7RGtl7ZO7zO0K8Zcy2yrkBC/s640/tutti1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyf5c-5ag7cqpIW5lR8GBFZw2rWkapcK9l7oGDYp0byh1G3tMa6lwnfXazfBixdzTjDYYvVFaJBnOc5OM_NZ9cSNhtkS2Xc_BtAE8kaMalGgSC7ZudkCtrt-CPKL2PvJhxAeN6wsOn1nN0SWZ4OikcPi42GDYeQDfRL7RGtl7ZO7zO0K8Zcy2yrkBC/w390-h293/tutti1.jpg" width="390" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDOymmNyyDVx8ghmz36SWTtNipEEfOywYNIE5dlz-slSFZBHye8LJZuxdVWFik1HfHMHGIsxNMCOiP53Wjf2m4w3E_AdK6c5JMHZIdEKgMI1Mf0H7h4ehaW2dcz-1t-mZGyVLX7F3ecCnLx3tWntY9Pw4WB0Z8bl92bgSMKwOfYrlwx04dOGtgZwmF/s640/tutti2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDOymmNyyDVx8ghmz36SWTtNipEEfOywYNIE5dlz-slSFZBHye8LJZuxdVWFik1HfHMHGIsxNMCOiP53Wjf2m4w3E_AdK6c5JMHZIdEKgMI1Mf0H7h4ehaW2dcz-1t-mZGyVLX7F3ecCnLx3tWntY9Pw4WB0Z8bl92bgSMKwOfYrlwx04dOGtgZwmF/w403-h302/tutti2.jpg" width="403" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqLZFrnCW9wIHKQxaHWNs9IGPV5EjeiPM2ytMzq7ebenWS8XBb1kg4eHYYgL6ISvu9X-gqt43bZvG9QvYpCRI6EbKk8l1WJlaVfjQY4tugun9hOXcfnENM3vJ0ws1aHwqWQc8COZ46nIfc_mjny3ftz6agCUuDj4I2Lxv0VLZOZl8HUP7fl8E4zogq/s622/tutti3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="326" data-original-width="622" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqLZFrnCW9wIHKQxaHWNs9IGPV5EjeiPM2ytMzq7ebenWS8XBb1kg4eHYYgL6ISvu9X-gqt43bZvG9QvYpCRI6EbKk8l1WJlaVfjQY4tugun9hOXcfnENM3vJ0ws1aHwqWQc8COZ46nIfc_mjny3ftz6agCUuDj4I2Lxv0VLZOZl8HUP7fl8E4zogq/w408-h214/tutti3.jpg" width="408" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Pd07nO0gE_CO9zJNnZEgMFo7l3h_EvWFM2W3kqCWochBo7cb_o3ChtcpFmr0fojsMy1BlV6ueatNvK3lKKZX61WrwKGHZeuotDBtfQh3UWc4mN5SyEq3x_cvTe1kXfGUq8TrbUlEWTb-6cnkrk3VurYZG5e3Ur0SA09Tf2sPjNkA0Q8L9IZaNtPU/s640/tutti4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Pd07nO0gE_CO9zJNnZEgMFo7l3h_EvWFM2W3kqCWochBo7cb_o3ChtcpFmr0fojsMy1BlV6ueatNvK3lKKZX61WrwKGHZeuotDBtfQh3UWc4mN5SyEq3x_cvTe1kXfGUq8TrbUlEWTb-6cnkrk3VurYZG5e3Ur0SA09Tf2sPjNkA0Q8L9IZaNtPU/w403-h302/tutti4.jpg" width="403" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><span style="font-size: x-large;">*****</span></p><p><br /></p><p><span style="color: #2b00fe; font-size: large;">RIGOLETTO, MEtropolitan Opera, December 2022</span></p><p><br /></p><p><b>Bartlett Sher</b>'s performance of <b>Verdi</b>'s opera <b>Rigoletto</b> was again performed at the <b>Metropolitan Opera</b> in New York.</p><p>The action takes place in Germany, in the Republic of Weimar, but it is a classic, showy staging and where the main components of the opera are present and represented in a very perceptible way.</p><p><b>Speranza Scappucci</b>'s musical direction was not up to the performance. There were several disagreements between the orchestra and the singers and the imposed rhythms were not always the most suitable for the action. It was a pity because the Orchestra and the Chorus were grate.</p><p>This time something rare happened in opera, all the soloists were excellent!</p><p>French tenor <b>Benjamin Bernheim </b>was a fabulous Duke. He has a wide, fresh voice, very beautiful timbre, impressive power and great musicality. And on stage he was a real actor, the young and thin figure helps a lot.</p><p>The Italian soprano <b>Rosa Feola </b>made a perfect Gilda. Voice always audible over the orchestra, in tune, beautiful and expressive. On stage she was also perfect.</p><p>The American baritone <b>Quinn Kelsey </b>was a Rigoletto like I haven't seen live in a long time. It's a difficult role, nowadays there are few singers who sing and represent it correctly and Kelsey is one of them. He was fantastic.</p><p>They also deserve mention for their excellent performances <b>Bradley Garvin </b>as Monterone, the fantastic <b>John Relyea </b>as Sparafucile, and the stunning <b>Aigul Akhmetshina </b>as Maddalena.</p><p>A fabulous performance.</p><p><span style="font-size: x-large;">*****</span></p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com7tag:blogger.com,1999:blog-6732274191821624755.post-23308091674917804422022-12-27T06:34:00.002+00:002022-12-27T06:34:12.378+00:00 DON CARLO, METropolitan Opera, Dezembro / December 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvLVQe-wg6mjgIjRWJ35dxbR0cDLyLcVT1iI5u42PzdA12v30ZikTr1jzjHbleGUdpCJ1AFiqz_Vnp5oA3wbHxDPboVvvgpbvUbdXHd1Fp0stm_vH6UWXLfRVX5CizZDHDBAr5sNNTowP_qPOsTA_S75Y8v_n4ouOpuZAk_aN0ScLtp8doLOZ620qU/s628/cartaz.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="628" data-original-width="414" height="431" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvLVQe-wg6mjgIjRWJ35dxbR0cDLyLcVT1iI5u42PzdA12v30ZikTr1jzjHbleGUdpCJ1AFiqz_Vnp5oA3wbHxDPboVvvgpbvUbdXHd1Fp0stm_vH6UWXLfRVX5CizZDHDBAr5sNNTowP_qPOsTA_S75Y8v_n4ouOpuZAk_aN0ScLtp8doLOZ620qU/w284-h431/cartaz.jpg" width="284" /></a></div><p style="text-align: center;">(review in English below)</p><p>A opera <b>Don Carlo</b> de <b>Verdi,</b> com encenação de <b>David McVicar </b>esteve em palco na <b>Metropolitan Opera</b>, na versão italiana, mais curta (e mais curto é também menos na qualidade e na compreensão do enredo). É uma produção clássica, vistosa, fluida, algo escura mas de entendimento fácil. A componente negativa é a presença de um bobo durante o auto-da-fé.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTlr3qWqNA58Vp9lKYiCpMV4LV09-xrKNot-fDofqRuBXPfsY8GHoOTDVFDeahd-DyH5FSku85MGSmrhLmDsp4Dukwfz8d-p2Et8Bu_DmYGwyasy-JyiTrDubmqA9Sf8Ja6XLT6PDO7rTTfXN9RUAc2fk0X3fJ0aIqPQSwvoopkmTluDPH4N8vZVa_/s527/cartaz%20pequeno%20Don%20Carlo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="527" data-original-width="429" height="371" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTlr3qWqNA58Vp9lKYiCpMV4LV09-xrKNot-fDofqRuBXPfsY8GHoOTDVFDeahd-DyH5FSku85MGSmrhLmDsp4Dukwfz8d-p2Et8Bu_DmYGwyasy-JyiTrDubmqA9Sf8Ja6XLT6PDO7rTTfXN9RUAc2fk0X3fJ0aIqPQSwvoopkmTluDPH4N8vZVa_/w302-h371/cartaz%20pequeno%20Don%20Carlo.jpg" width="302" /></a></div><br /><p>O maestro foi <b>Carlo Rizz</b>i que dirigiu com interesse a óptima Orquestra da casa. O Coro foi excelente.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOojhhCHoVLWCaBQUfA3vzZPytHXVFi4DsSBpVn9VMOwbZ-KYFkqrhyu07HzsB0ugA2HgjW3ELfUqOad5FL6upI9kh1_nDZvYfUPM96YidgqwOgLHidgwHLthjFhxokaETg2I1q_fdCZ6ydkd-MJMDu9HGCaUQY5KFj9D9P67R0yw1hiZU7i6D-juM/s498/palco.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="472" height="379" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOojhhCHoVLWCaBQUfA3vzZPytHXVFi4DsSBpVn9VMOwbZ-KYFkqrhyu07HzsB0ugA2HgjW3ELfUqOad5FL6upI9kh1_nDZvYfUPM96YidgqwOgLHidgwHLthjFhxokaETg2I1q_fdCZ6ydkd-MJMDu9HGCaUQY5KFj9D9P67R0yw1hiZU7i6D-juM/w359-h379/palco.jpg" width="359" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkJnr0IUGA5eMVl0vszqb3CeKOYFItfkIAUU0GzLBEZHtoyK5GM37pUeB1VgW0wQBvg3oGlYMOTjifbk1LBs7GN40uua7EsrXMbxYIY2PQoAI3UYXsnsdv7PQ6JjNigDMEOduZpFbBLtTi--sgEwx6mF2MZJDmERehry_LU9K_7Np2lKxGSQrZ0hY-/s531/palco%20final.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="385" data-original-width="531" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkJnr0IUGA5eMVl0vszqb3CeKOYFItfkIAUU0GzLBEZHtoyK5GM37pUeB1VgW0wQBvg3oGlYMOTjifbk1LBs7GN40uua7EsrXMbxYIY2PQoAI3UYXsnsdv7PQ6JjNigDMEOduZpFbBLtTi--sgEwx6mF2MZJDmERehry_LU9K_7Np2lKxGSQrZ0hY-/w389-h282/palco%20final.jpg" width="389" /></a></div><br /><p>De entre os solistas, dois foram absolutamente fantásticos. O <b>Günther Groissböck</b> como Filipe II foi talvez o melhor intérprete que vi e ouvi neste papel. Que presença em palco e que voz! Sempre afinada, audível no mais recôndito canto da enorme sala, de uma beleza ímpar e sempre muito emotivo. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDI4aGiEumIxKUzUEI-W7OAJlojhBR0y-v9kfJ4ewlalnbgtr7E-ifLy9L-6inHDCs107OuzmiISyAUxZo5v_PMEbATj4AgwTahFTX6yPuD1Zd4irPABI4vv6L2NDZ2e65bsmN9y2jwGDiaECR46O3G3vYvP6QVsOA2S3H8rA1N8O0OqGK1m2DUqZ2/s230/Rei%20Filipe%20II.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="230" data-original-width="206" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDI4aGiEumIxKUzUEI-W7OAJlojhBR0y-v9kfJ4ewlalnbgtr7E-ifLy9L-6inHDCs107OuzmiISyAUxZo5v_PMEbATj4AgwTahFTX6yPuD1Zd4irPABI4vv6L2NDZ2e65bsmN9y2jwGDiaECR46O3G3vYvP6QVsOA2S3H8rA1N8O0OqGK1m2DUqZ2/w274-h306/Rei%20Filipe%20II.jpg" width="274" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>O Rodrigo do <b>Peter Mattei </b>foi também inesquecível. Tem um barítono de uma beleza invulgar, voz sempre perfeitamente colocada e toda a interpretação foi de uma musicalidade inultrapassável. Fantástico! E em palco sempre muito bem, é alto e magro e ágil, o que ajuda muito.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEDBBVaLuwjvmFAiAu0HdzU5Tbf1Nnl518F3JXr1Fm4Zoh-kDwHxpoRhlKUf8_hs7GmvuSZJJdJMdl0yyoKWdvCdeonZLSjsrltWOWWey6D45DwLkurxavr3SJNibyZx73dAt3OT2V80EYtjr4agLtap4xYWG9rJg7ZuDwzcD2unEdvzMHrYZLQ9in/s249/Rodrigo%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="249" data-original-width="203" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEDBBVaLuwjvmFAiAu0HdzU5Tbf1Nnl518F3JXr1Fm4Zoh-kDwHxpoRhlKUf8_hs7GmvuSZJJdJMdl0yyoKWdvCdeonZLSjsrltWOWWey6D45DwLkurxavr3SJNibyZx73dAt3OT2V80EYtjr4agLtap4xYWG9rJg7ZuDwzcD2unEdvzMHrYZLQ9in/w264-h324/Rodrigo%202.jpg" width="264" /></a></div><br /><p><b>John Relyea </b>com o seu baixo cavernoso e potente foi também um Grande Inquisidor marcante e, no esperado dueto com o Filipe II no 3º acto, foi um dos momentos mais altos da récita.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6BSyTEWn-B7cU0FfagwN9WZwZY8d4zy7huz9BStGzcp48JHDA_17qK7EdGG9B5AlAqj36EdKAqVzC3oPOKW9WjTPYxa7ouMvAxQTQiOmwi6evxhz8QCJ1_Ofo8aWZCBCuavaTVraSN6ffM8pRdFacL8qyHGwUCxxQIj_xANJc1lLK7gno6F0XdnW7/s234/Grande%20Inquisidor%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="234" data-original-width="233" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6BSyTEWn-B7cU0FfagwN9WZwZY8d4zy7huz9BStGzcp48JHDA_17qK7EdGG9B5AlAqj36EdKAqVzC3oPOKW9WjTPYxa7ouMvAxQTQiOmwi6evxhz8QCJ1_Ofo8aWZCBCuavaTVraSN6ffM8pRdFacL8qyHGwUCxxQIj_xANJc1lLK7gno6F0XdnW7/w288-h289/Grande%20Inquisidor%202.jpg" width="288" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>Ainda referindo os baixos, <b>Toni Marie Palmertree </b>teve interpretações curtas mas excelentes como o fantasma do imperador Carlos V.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3jItFa_TmQWnmlRJ0-44vBDZid6fHg8eDcwZ0hua6bTn0cQqiBh9wfSs4wAqf5kDSx3LRxb6aq1WR-kry-bFzTFfMgQ5_iQ19CCKCsdoF7xaALfNL4JgTgp9UV5huL3SGoFOXNENXm31XXoT4Cj75F5kh2KDHn3p1rlcgE375XCLgposqf85inFu8/s257/Carlos%20V%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="257" data-original-width="244" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3jItFa_TmQWnmlRJ0-44vBDZid6fHg8eDcwZ0hua6bTn0cQqiBh9wfSs4wAqf5kDSx3LRxb6aq1WR-kry-bFzTFfMgQ5_iQ19CCKCsdoF7xaALfNL4JgTgp9UV5huL3SGoFOXNENXm31XXoT4Cj75F5kh2KDHn3p1rlcgE375XCLgposqf85inFu8/w308-h324/Carlos%20V%202.jpg" width="308" /></a></div><br /><p>O Don Carlo do tenor <b>Rafael Davila </b>(uma substituição), em substituição de Russell Thomas completou o conjunto de intérpretes masculinos de qualidade. Esteve à altura do papel, a voz é agradável, a emissão muito boa e teve um desempenho cénico adequado.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzKsyDzLbAjQ_Q_X6n5-oCndFegroK9cfW1QoKTJis2HD93dCJZ4hTJraQFFHGpvXQwL4uTzgZ_lD0wNzmJC-kbMzjSJVGC5nlky5sK01eO-zkTReUYFmTP4P-InGN4n6rKs_AT2mu_N8iibS8gNgk8E0VSqdBqLihoAUw4fKMXgyA3tpVDWfYXkOV/s229/Don%20Carlo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="220" data-original-width="229" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzKsyDzLbAjQ_Q_X6n5-oCndFegroK9cfW1QoKTJis2HD93dCJZ4hTJraQFFHGpvXQwL4uTzgZ_lD0wNzmJC-kbMzjSJVGC5nlky5sK01eO-zkTReUYFmTP4P-InGN4n6rKs_AT2mu_N8iibS8gNgk8E0VSqdBqLihoAUw4fKMXgyA3tpVDWfYXkOV/w317-h305/Don%20Carlo.jpg" width="317" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>A mezzo <b>Yulia Matochkina</b> foi uma Princesa Eboli muito competente, vocalmente irrepreensível, com graves imponentes, boa extensão vocal e uma presença em palco muito agradável.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVfeUAdWkaE7hTnc5jsyj6EbTxsI_OWHljpq9rlq_HQMEnLQelsrc32ITWSg5IT5Siv1GiRtWzz7LkMzhjpAPGp11ujbXHKEzOdZxk1bFw51fZfZtYPWktRnRliDoFyfbIjlxwUiWZTJwhj7B_QxB8NrGT9DBc5bv6mj5fAfaJkqwNSUpqbnjwkhGi/s239/Eboli%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="234" data-original-width="239" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVfeUAdWkaE7hTnc5jsyj6EbTxsI_OWHljpq9rlq_HQMEnLQelsrc32ITWSg5IT5Siv1GiRtWzz7LkMzhjpAPGp11ujbXHKEzOdZxk1bFw51fZfZtYPWktRnRliDoFyfbIjlxwUiWZTJwhj7B_QxB8NrGT9DBc5bv6mj5fAfaJkqwNSUpqbnjwkhGi/w332-h325/Eboli%202.jpg" width="332" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>A Elisabete de <b>Angela Meade</b> não esteve bem no canto. A voz é muito potente e com uma extensão notável. Contudo, tem um vibrato incomodativo e nos agudos é inconstante e perde qualidade. Outro problema é a presença em palco. A cantora é excessivamente volumosa, mexe-se com dificuldade e praticamente só canta sem representar, o que prejudica a personagem, sobretudo quando rodeada por colegas da categoria dos seus parceiros.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigyXI8quyBH3IZyPAr8hkgt0kq--AKuKCg-cXXeIffkgq4J6S6K0eBQzOwZc3HTYQgajt4yl_o4wRZgaZk54XVbXnrYmiJHUtm0CBfhlgGXLxKziJggu5aS66hS4o9F5UAE1DQS020tVPkp_FmjAWb_U4fSnZlumWEXk9PL6ak3mt8Io6GpXq_nzAL/s253/Elisabeta.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="230" data-original-width="253" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigyXI8quyBH3IZyPAr8hkgt0kq--AKuKCg-cXXeIffkgq4J6S6K0eBQzOwZc3HTYQgajt4yl_o4wRZgaZk54XVbXnrYmiJHUtm0CBfhlgGXLxKziJggu5aS66hS4o9F5UAE1DQS020tVPkp_FmjAWb_U4fSnZlumWEXk9PL6ak3mt8Io6GpXq_nzAL/w332-h302/Elisabeta.jpg" width="332" /></a></div><br /><p>Mas foi um espectáculo excelente e teria sido soberbo com outra Elisabete.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh28TZ5lH6unHKSFDOliMr3PyhWPo6UsY_XY1jcgrYq8IrPDvJ8N_Vv10Q2ywTYtGm-nyvsVHfVIy-JhNhaFz3z9MEGQKj2AYPCYubPpKS9tbCw-5TUzgOamVXUAVoPNtWP7cXF_2HOVHaBKtLr3kPbZsFWstd8nkj26i95sCu9KY6bzBMOo7nfGPGf/s640/tutti1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh28TZ5lH6unHKSFDOliMr3PyhWPo6UsY_XY1jcgrYq8IrPDvJ8N_Vv10Q2ywTYtGm-nyvsVHfVIy-JhNhaFz3z9MEGQKj2AYPCYubPpKS9tbCw-5TUzgOamVXUAVoPNtWP7cXF_2HOVHaBKtLr3kPbZsFWstd8nkj26i95sCu9KY6bzBMOo7nfGPGf/w391-h293/tutti1.jpg" width="391" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilSR9OwLUx6aKpBifUlXGpjzVg4hIJbB1wmyWEHtInHsNf_qG7K2mTNKO3MmsrnONcPNgc4Cd9xH6ys2ETjzAlgJGq7swjFK_SUZZJwa4QSJloIiO4kN3q1Lq4OoKv_EaQ85Y-T1UO0Lta7ZXA5uYE58-DbdarOw2zGz74blCfnxB9pznGw7cjv5ja/s640/tutti2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilSR9OwLUx6aKpBifUlXGpjzVg4hIJbB1wmyWEHtInHsNf_qG7K2mTNKO3MmsrnONcPNgc4Cd9xH6ys2ETjzAlgJGq7swjFK_SUZZJwa4QSJloIiO4kN3q1Lq4OoKv_EaQ85Y-T1UO0Lta7ZXA5uYE58-DbdarOw2zGz74blCfnxB9pznGw7cjv5ja/w382-h287/tutti2.jpg" width="382" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5gWphDmYqMkoKVlxkb_s-x33Om6fTsw3IEqWta0ik1Yi8hBHlFd1jbzhRVPaavTH3y7ASpkrkOZpw8J0FOB9B37wSKcmNQyfwyDh_BLmuNDQ80_o-GD8bu7huiITyyMcIJe8sbIsJfBYxask3ALVkBda8lS7mmXzO3u2q1RexZiB1S14kRgBEZcCA/s640/tutti4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5gWphDmYqMkoKVlxkb_s-x33Om6fTsw3IEqWta0ik1Yi8hBHlFd1jbzhRVPaavTH3y7ASpkrkOZpw8J0FOB9B37wSKcmNQyfwyDh_BLmuNDQ80_o-GD8bu7huiITyyMcIJe8sbIsJfBYxask3ALVkBda8lS7mmXzO3u2q1RexZiB1S14kRgBEZcCA/w393-h295/tutti4.jpg" width="393" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij1ztw233Lq2OupImgRZDwp50Lf1wJ2YooSEUFXeTNOB34M5j-bzdD5D-CU-9jLloYMiJWTUD3td4QDMsAp0ule_dZy2U2uV12S1Pwi4qGQbr5l1UeZy7Lny02BlTagaykPzZT25kDWVXo7f-_u2VSe90rwshOTSnu9GV8ZLVQVcds8IiYQjmgblLe/s640/tutti6%20bom.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij1ztw233Lq2OupImgRZDwp50Lf1wJ2YooSEUFXeTNOB34M5j-bzdD5D-CU-9jLloYMiJWTUD3td4QDMsAp0ule_dZy2U2uV12S1Pwi4qGQbr5l1UeZy7Lny02BlTagaykPzZT25kDWVXo7f-_u2VSe90rwshOTSnu9GV8ZLVQVcds8IiYQjmgblLe/w393-h295/tutti6%20bom.jpg" width="393" /></a></div><br /><p><span style="font-size: xx-large;">****</span></p><p><span style="color: #2b00fe; font-size: x-large;"><br /></span></p><p><span style="color: #2b00fe; font-size: x-large;">DON CARLO, METropolitan Opera, December 2022</span></p><p>The opera <b>Don Carlo</b> by <b>Verdi</b>, staged by <b>David McVicar</b>, was on stage at the <b>Metropolitan Opera</b>, in the Italian version, shorter (and shorter is also less in terms of quality and understanding of the plot). It is a classic production, showy, fluid, somewhat dark but easy to understand. The negative component is the presence of a jester during the auto-da-fe.</p><p>The maestro was <b>Carlo Rizzi</b>, who conducted with interest the excellent Orchestra of the house. The Choir was excellent.</p><p>Among the soloists, two were absolutely fantastic.<b> Günther Groissböck </b>as Philip II was perhaps the best performer I have seen and heard in this role. What a stage presence and what a voice! Always in tune, audible in the most secluded corner of the huge room, of a unique beauty and always very emotional.</p><p>Rodrigo by <b>Peter Mattei </b>was also unforgettable. He has a baritone of unusual beauty, voice always perfectly placed and the whole interpretation was of an unsurpassable musicality. Fantastic! And on stage he's always very good, he's tall, thin and agile, which helps a lot.</p><p><b>John Relyea</b> with his cavernous and powerful bass was also a striking Grand Inquisitor and, the expected duet with Filipe II in the 3rd act, it was one of the highest moments of the performance.</p><p>Still referring to the bass, <b>Toni Marie Palmertree</b> had short but excellent interpretations as the ghost of Emperor Charles V.</p><p><b>Rafael Davila</b>'s Don Carlo, replacing Russell Thomas, completed the set of quality male performers. He lived up to the role, the voice is pleasant, the emission is very good and he had an adequate stage performance.</p><p>Mezzo <b>Yulia Matochkina </b>was a very competent Princess Eboli, vocally impeccable, with imposing low register, good vocal range and a very pleasant stage presence.</p><p><b>Angela Meade'</b>s Elizabeth didn't do well in the singing. Her voice is very powerful and has a remarkable range. However, it has an annoying vibrato and in the top notes it is inconsistent and loses quality. Another problem is her stage presence. The singer is excessively bulky, moves with difficulty and practically only sings without acting, which harms the character, especially when surrounded by colleagues of the category of her partners.</p><p>But it was an excellent performance, and it had been superb with a different Elisabeth..</p><p><span style="font-size: x-large;">****</span></p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com2tag:blogger.com,1999:blog-6732274191821624755.post-81383132013580448712022-12-22T23:08:00.000+00:002022-12-22T23:10:09.549+00:00 ORATÓRIA DE NATAL, J S Bach, Fundação Gulbenkian, Dezembro de 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih9R2gVlrgqaRAzjFvyKb3suIrzPxkQ3cYlc0LTrricePAos5SqnvriN41inPGIwM6W8N4JsFNYyByZgAJ1sVpqV7_Uo9dCvrVscxFIaZmSGcDE1AxDAZbIr_jAjMyB4qAbYsm3Fx44j3DLyBbxR4vHiSqya34iK0ZHWnAyLvneNy20a_quroAWZij/s594/cartaz.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="594" data-original-width="372" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih9R2gVlrgqaRAzjFvyKb3suIrzPxkQ3cYlc0LTrricePAos5SqnvriN41inPGIwM6W8N4JsFNYyByZgAJ1sVpqV7_Uo9dCvrVscxFIaZmSGcDE1AxDAZbIr_jAjMyB4qAbYsm3Fx44j3DLyBbxR4vHiSqya34iK0ZHWnAyLvneNy20a_quroAWZij/w274-h438/cartaz.jpg" width="274" /></a></div><br /><p>A <b>Fundação Gulbenkian </b>ofereceu-nos as Cantatas I, III e VI da <b>Oratória de Natal</b> de <b>J.S. Bach</b> interpretada pela <b>Orquestra e Coro Gulbenkian</b>, sob a direcção do maestro <b>Peter Dijkstra</b>. </p><p>Como solistas<span style="white-space: pre;"> </span>actuaram a mezzo alemã <b>Anke Vondung</b>, o tenor belga <b>Reinoud Van Mechelen</b>, o barítono alemão <b>Tobias Brendt</b> e a soprano escocesa <b>Rachel Redmond</b>.</p><p>Foi um concerto suave, muito agradável, com óptimas interpretações do Coro e da Orquestra e um conjunto muito equilibrado de solistas de grande qualidade, do qual destaco o tenor Van Mechelen.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWBVrxkXj66jmGqqF-IdpRxI1nX1kC5OT-fsgpzCLg86lIxrvuIOeLQUI8hpyygrH6iVJr3Ho_MgVMwx2OgfkkwRB8lwO01MO7WfXPSbEqiUC1eB6MxlNWt_sh1Ov43BkQD-jc2VHj5c0EbiT9awBdwTiN_mvoeMqfKy3gDp5mQk3NNjbKPLEKIePb/s637/tutti1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="328" data-original-width="637" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWBVrxkXj66jmGqqF-IdpRxI1nX1kC5OT-fsgpzCLg86lIxrvuIOeLQUI8hpyygrH6iVJr3Ho_MgVMwx2OgfkkwRB8lwO01MO7WfXPSbEqiUC1eB6MxlNWt_sh1Ov43BkQD-jc2VHj5c0EbiT9awBdwTiN_mvoeMqfKy3gDp5mQk3NNjbKPLEKIePb/w442-h228/tutti1.jpg" width="442" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0P0EI1UXk1ElWNeODIyb2W_pNgakLfKtOi4FIRLgVcEbx_tfr_Atl6kb0eQPF2oYxwUiszHgA98B19mw-e7kl6jNbxlZsk099lseIRjh3c3MsQ-v0z9HbuaIZuWLlAvxjTMdZe6KYk98kFAZOyExML1Ozer5fxWBfvPgX5UHS4WbF7F7qD9nznbhr/s566/solistas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="348" data-original-width="566" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0P0EI1UXk1ElWNeODIyb2W_pNgakLfKtOi4FIRLgVcEbx_tfr_Atl6kb0eQPF2oYxwUiszHgA98B19mw-e7kl6jNbxlZsk099lseIRjh3c3MsQ-v0z9HbuaIZuWLlAvxjTMdZe6KYk98kFAZOyExML1Ozer5fxWBfvPgX5UHS4WbF7F7qD9nznbhr/w447-h275/solistas.jpg" width="447" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj5pHfCPUwBsSYuq7zB441olKtJhSJvlDSAI3PygJT_p_ORJZtY4LsCRbEvVBIJrxV0VZD6T2p0WfM91g-QGGnmtZsclTPm0rpekSqJzwQ1kAsQECzKSxt51_dW2k6Dbha5nOvGKo3QowzMeL_8qiK4JqpqAB9HLuhlzqu036m3U73zm411qoD2ZQe/s631/tutti2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="363" data-original-width="631" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj5pHfCPUwBsSYuq7zB441olKtJhSJvlDSAI3PygJT_p_ORJZtY4LsCRbEvVBIJrxV0VZD6T2p0WfM91g-QGGnmtZsclTPm0rpekSqJzwQ1kAsQECzKSxt51_dW2k6Dbha5nOvGKo3QowzMeL_8qiK4JqpqAB9HLuhlzqu036m3U73zm411qoD2ZQe/w459-h264/tutti2.jpg" width="459" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><span style="font-size: x-large;">****</span></p><p><br /></p><p><span style="color: #2b00fe; font-size: large;">CHRISTMAS ORATORY, J S Bach, Fundação Gulbenkian, December 2022</span></p><p>The <b>Gulbenkian Foundation</b> offered us Cantatas I, III and VI from the Christmas Oratory by <b>J.S. Bach</b> performed by the <b>Gulbenkian Orchestra and Choir,</b> under the direction of maestro <b>Peter Dijkstra.</b></p><p>As soloists, German mezzo <b>Anke Vondung</b>, Belgian tenor <b>Reinoud Van Mechelen</b>, German baritone <b>Tobias Brendt</b> and Scottish soprano <b>Rachel Redmond </b>performed.</p><p>It was a smooth concert, very pleasant, with excellent interpretations by the Choir and the Orchestra and a very balanced set of soloists of great quality, of which I highlight the tenor Van Mechelen.</p><p><span style="font-size: x-large;">****</span></p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com0tag:blogger.com,1999:blog-6732274191821624755.post-67588206690069925572022-12-14T00:54:00.002+00:002022-12-14T01:32:03.189+00:00 THE HOURS, METropolitan Opera, Dezembro / December 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQCccWHxMTUiZ3hYr98bXk57MCwDHC6quokT9mFhrYtYJs-fYFBQguLRkZ4fvKwV-hP2VFY1CkG-CBlbC7xLd6GiJbFMiWZOQ4HmeAnVTWxFpxlb6S0X8uAqz0s_3FBRu-LNxUH3fzFdyhFgjdF8w6OZyoXHdq0UTDI0OeWO3TwrLs3If_OoybVQAR/s640/cartaz%20The%20Hours%20melhor.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQCccWHxMTUiZ3hYr98bXk57MCwDHC6quokT9mFhrYtYJs-fYFBQguLRkZ4fvKwV-hP2VFY1CkG-CBlbC7xLd6GiJbFMiWZOQ4HmeAnVTWxFpxlb6S0X8uAqz0s_3FBRu-LNxUH3fzFdyhFgjdF8w6OZyoXHdq0UTDI0OeWO3TwrLs3If_OoybVQAR/w291-h388/cartaz%20The%20Hours%20melhor.jpg" width="291" /></a></div><p style="text-align: center;">(review im English below)</p><p>A opera <b>The Hours</b> é uma adaptação musical de <b>Kevin Puts </b>da novela homónima de <b>Michael Cunningham</b>. Encenação de <b>Phelim McDermott</b>.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW-x5Hyai4MAiRdLSIVkuHKOgON9cvENb9_MA3SzHFhbLDnFZ3-nOYU3PtuCCAjEGyGOwi4_IC1HY_A4uQUOMppes20uFcqGFFl0W8jIW2pOagFGdFZs7iUTWLZURH3f9KnSurzDV2S7annxojl3bhcZ9DYMEgZc-rzETlJN8sDi4Y9GnoQAsEQq3G/s509/cartaz%20pequeno.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="509" data-original-width="416" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW-x5Hyai4MAiRdLSIVkuHKOgON9cvENb9_MA3SzHFhbLDnFZ3-nOYU3PtuCCAjEGyGOwi4_IC1HY_A4uQUOMppes20uFcqGFFl0W8jIW2pOagFGdFZs7iUTWLZURH3f9KnSurzDV2S7annxojl3bhcZ9DYMEgZc-rzETlJN8sDi4Y9GnoQAsEQq3G/w341-h416/cartaz%20pequeno.jpg" width="341" /></a></div><br /><p>A acção decorre em 3 períodos distintos. O primeiro em 1923 é Richmond, um subúrbio de Londres onde Virginia Woolf vive com o marido Leonard enquanto escreve Mrs Dalloway. O ambiente calmo local procura ajudar a já débil saúde mental da autora, mas ela considera-o opressivo. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI6t6v0rbV_pte-3vgNUenWz8EdlyRTtdG483xO4q0S-bjGNHvUroeOrRimpXiRzp4UQSWIZieomimmzazmSY7nhBFqZtFofOvgKfiYfv6QCUPRkQ_HHl0Gic7O9mjZE97uYgdQ6xShgag6nepA5Q-x5erQATU1cUVaBgK3k6Z6bko-MN6hH6qaDdG/s640/relogio%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI6t6v0rbV_pte-3vgNUenWz8EdlyRTtdG483xO4q0S-bjGNHvUroeOrRimpXiRzp4UQSWIZieomimmzazmSY7nhBFqZtFofOvgKfiYfv6QCUPRkQ_HHl0Gic7O9mjZE97uYgdQ6xShgag6nepA5Q-x5erQATU1cUVaBgK3k6Z6bko-MN6hH6qaDdG/w285-h380/relogio%201.jpg" width="285" /></a></div><p>O segundo é em los Angeles em 1949 onde Laura Brown (que lê Mrs Dalloway), o marido Dan no dia do seu anivesário, e o filho Richie tentam viver uma vida suburbana ao estilo americano da época. </p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaVS3qNUF2aO4BpHUyGO3pyRsq4XGVFHa57LC2RUbxJX-IM5QP3gtF01jKCFRIl-XEeMzt4JhyTCYg03gAdn6xQGpZQ1NFSpVNnkpphGe29tFP9LztEpfagQiWHCkSIuXFprfnxxLD0V_2rpCgXhnHGg2dwQNWYWqcahygv489N9moXh6NmhzyWJeG/s640/cortina%20no%20intervalo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="375" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaVS3qNUF2aO4BpHUyGO3pyRsq4XGVFHa57LC2RUbxJX-IM5QP3gtF01jKCFRIl-XEeMzt4JhyTCYg03gAdn6xQGpZQ1NFSpVNnkpphGe29tFP9LztEpfagQiWHCkSIuXFprfnxxLD0V_2rpCgXhnHGg2dwQNWYWqcahygv489N9moXh6NmhzyWJeG/w281-h375/cortina%20no%20intervalo.jpg" width="281" /></a></div></div><p>O terceiro é em Manhattan, Nova Iorque no final do Século XX onde Clarissa Vaughan prepara uma festa ao poeta Richard que é um doente terminal com SIDA.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQlFAhP5DcqbeqMdY9Dx2We1AOsqRyxjKDvq4r3DTOKZqlPj0Cd7bze2dIpD6pjMEjx6wYFJQrrVinXP2uYUDxPrW783Y1O7TnikDcxWO9VJFVzWsMGrBHHpkm6lPWD-vSNdhtvcQmciHknsZYdcuMpy6ohSObNk2NizD2NEa1LzEcbRvN9GSGdtTk/s640/relogio2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQlFAhP5DcqbeqMdY9Dx2We1AOsqRyxjKDvq4r3DTOKZqlPj0Cd7bze2dIpD6pjMEjx6wYFJQrrVinXP2uYUDxPrW783Y1O7TnikDcxWO9VJFVzWsMGrBHHpkm6lPWD-vSNdhtvcQmciHknsZYdcuMpy6ohSObNk2NizD2NEa1LzEcbRvN9GSGdtTk/w378-h284/relogio2.jpg" width="378" /></a></div><p>As 3 mulheres, deprimidas, têm em comum a necessidade de fugirem das suas realidades e acabam por se encontrar num espaço e tempo transcendental.</p><p>O teatro não se poupou na propaganda a esta nova produção. Estava anunciada por todo o lado.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpK0CD55rrEyXYjEPOgrKBkdUjYW1lZT7rpmhfmtxEuimPyYJLZQjzd1eMhAKjVK1pcQOV8FWHRK4YIxXvcJNfaJUsXXI9wvqaeiLuk6g7wRd468LVA1NcqU9aFd7wBaaF2bfVIllllm4hkn1N_JtgOkY6dYmMNxsvMSgsmZxL_wrtydBuOGCoEnmx/s640/The%20hours%20outdoor.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="385" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpK0CD55rrEyXYjEPOgrKBkdUjYW1lZT7rpmhfmtxEuimPyYJLZQjzd1eMhAKjVK1pcQOV8FWHRK4YIxXvcJNfaJUsXXI9wvqaeiLuk6g7wRd468LVA1NcqU9aFd7wBaaF2bfVIllllm4hkn1N_JtgOkY6dYmMNxsvMSgsmZxL_wrtydBuOGCoEnmx/w289-h385/The%20hours%20outdoor.jpg" width="289" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnWUt2V1IVj4wuCXBZCd4caWQuGAlIKRh_loBFX-Ss2bWsYuAWTlGDdes7qAEpV06gwsw0zBYKzltfzelS3_P4Xv7XYEdMYnQ2rKU7IZiGSsKsMt5Z8U8LXt5ejRL2zwQyIAVQrzezz0J3DOWJjFe-K1F0crSiaL90gdsyjYUYIPbBlZ5MLqAFqzn0/s640/Met%20The%20Hours.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnWUt2V1IVj4wuCXBZCd4caWQuGAlIKRh_loBFX-Ss2bWsYuAWTlGDdes7qAEpV06gwsw0zBYKzltfzelS3_P4Xv7XYEdMYnQ2rKU7IZiGSsKsMt5Z8U8LXt5ejRL2zwQyIAVQrzezz0J3DOWJjFe-K1F0crSiaL90gdsyjYUYIPbBlZ5MLqAFqzn0/w315-h420/Met%20The%20Hours.jpg" width="315" /></a></div><br /><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirks6HN-rprxwxoT26IoVR7UZMB1dFXWmy1s18RNfrm13WTatSoUlFzBfP7fAbcfEfcyps8du52xoGsBLdB7sUmxXtjuHum-wFAfaTXcaV2Nh61uwgKuMrB4dFEWgZ5b354tV49wGSYd-tvLOwTeqMN0iBUmhB5EH5eTbKMdevH1u0tSl4Ug6GFMrz/s640/cartaz%204.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirks6HN-rprxwxoT26IoVR7UZMB1dFXWmy1s18RNfrm13WTatSoUlFzBfP7fAbcfEfcyps8du52xoGsBLdB7sUmxXtjuHum-wFAfaTXcaV2Nh61uwgKuMrB4dFEWgZ5b354tV49wGSYd-tvLOwTeqMN0iBUmhB5EH5eTbKMdevH1u0tSl4Ug6GFMrz/w294-h392/cartaz%204.jpg" width="294" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>O maestro foi <b>Yannick Nézet-Séguin</b>. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibao8msbUocvbS0OrWTTMp7UNsH3ood8HtzhoxiNolz4s94QypAOnTgNubv8XAK_SS3SprgaMA02JuFiI5A0NBogd_Vm6N-Cr49UhR2DIikvWwiW4Nt_uX9Ymcl4cYmvKxkYrdHyqLYOIifb2HktFKYDT4IhC8FdNfohhvjJ2kLchyN240KbQmTpf1/s640/maestro%20e%20orquestra.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibao8msbUocvbS0OrWTTMp7UNsH3ood8HtzhoxiNolz4s94QypAOnTgNubv8XAK_SS3SprgaMA02JuFiI5A0NBogd_Vm6N-Cr49UhR2DIikvWwiW4Nt_uX9Ymcl4cYmvKxkYrdHyqLYOIifb2HktFKYDT4IhC8FdNfohhvjJ2kLchyN240KbQmTpf1/w400-h300/maestro%20e%20orquestra.jpg" width="400" /></a></div><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrKe71kjoLcGZPIiVE34zlBzr0dMSTB_8HdYxCr_zKznBinn6AtJDslFyI_2DVZuuzWPgzPvsG-8bcb6pOA43C1v2F0WnkHUNQnx9rdWrShsITfdpMd8zXiysTUZESG7H1u9XG8-LHWr3F2fSscTpuKdVFaWk5T1PHEw6hEjz_Q6TeFvAeo0Bxkws0/s640/coro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrKe71kjoLcGZPIiVE34zlBzr0dMSTB_8HdYxCr_zKznBinn6AtJDslFyI_2DVZuuzWPgzPvsG-8bcb6pOA43C1v2F0WnkHUNQnx9rdWrShsITfdpMd8zXiysTUZESG7H1u9XG8-LHWr3F2fSscTpuKdVFaWk5T1PHEw6hEjz_Q6TeFvAeo0Bxkws0/w417-h313/coro.jpg" width="417" /></a></div><p>Os e papéis solistas foram interpretados por 3 grandes cantoras americanas, Clarissa Vaughan por <b>Renée Fleming</b>, Virginia Woolf por <b>Joyce DiDonato </b>e Lara Brown por <b>Kelli O’Hara</b>. Mas, vocalmente, foi uma excelente interpretação – Joyce Didonato – e as outras medianas, especialmente a Fleming. Outrora marcante, a voz está degradada e, frequentemente, mal se ouve.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPVK2b3LkyTEI7vAINPk2wCRiIUp59OM5ZtBBeey9OahqvGf9PnQ5EAIHDEPrQM33uzAPXm_QC0gusYADc9aqBC3IEBS1zQAB0_fvRYKuFdiy7D3uJGA_I64t5hMnLsnc83X4uAhL_sZZIbBd6Qjbcpad082XXrj-M_-RRy2nH1ptqRHZ6_hRorMBN/s360/as%203%20solistas.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="249" data-original-width="360" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPVK2b3LkyTEI7vAINPk2wCRiIUp59OM5ZtBBeey9OahqvGf9PnQ5EAIHDEPrQM33uzAPXm_QC0gusYADc9aqBC3IEBS1zQAB0_fvRYKuFdiy7D3uJGA_I64t5hMnLsnc83X4uAhL_sZZIbBd6Qjbcpad082XXrj-M_-RRy2nH1ptqRHZ6_hRorMBN/w385-h266/as%203%20solistas.jpg" width="385" /></a></div><p><br /></p><p>Dos restantes cantores os mais destacados foram <b>Kyle Ketelsen</b> (Richard) <b>Kathleen Kim</b> (Barbara). <b>Sean Pannikar </b>(Leonard Woolf), <b>Tony Stevenson</b> (Walter), <b>Kai Edgar</b> (Richie), <b>William Burden</b> (Louis) e<b> Brandon Cedel</b> (Dan Brown) cumpriram sem deslumbrar.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU8cguOtTTCYBCT_GuQ-lP39pcCF_ZUYplbkUgnNTxCuQ9EUoIMDcEz9V-3KuKumnAFo3v5UFWfxe7dZSLyQfayVIOirfBMNM21twES5Of3rT9SGDMBVjuYD6K5zqcDE0TvInR_VNXsQfU7j9uR5ck89JDoyhB4KNBXKPJz7NYTT7sVVAZPiRx7QAF/s640/tutti1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU8cguOtTTCYBCT_GuQ-lP39pcCF_ZUYplbkUgnNTxCuQ9EUoIMDcEz9V-3KuKumnAFo3v5UFWfxe7dZSLyQfayVIOirfBMNM21twES5Of3rT9SGDMBVjuYD6K5zqcDE0TvInR_VNXsQfU7j9uR5ck89JDoyhB4KNBXKPJz7NYTT7sVVAZPiRx7QAF/w386-h290/tutti1.jpg" width="386" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZabntOMs6wO4NLE5HYU87ESubv9i-R8tBZ5sHt8t6iV0E2AkeYuTAgsfVOaFtLpGiz4A2mIztC3MvTsmJfDOW5X90-ze3lEJPvfUWHqLMD70KQ_JWof_719lv-pM6l1NfTrwVq5ww2QwduFFtWofOw7BpDUW-d5GxBudaApOyKUIow8jiEhxnUp8_/s640/tutti2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZabntOMs6wO4NLE5HYU87ESubv9i-R8tBZ5sHt8t6iV0E2AkeYuTAgsfVOaFtLpGiz4A2mIztC3MvTsmJfDOW5X90-ze3lEJPvfUWHqLMD70KQ_JWof_719lv-pM6l1NfTrwVq5ww2QwduFFtWofOw7BpDUW-d5GxBudaApOyKUIow8jiEhxnUp8_/w416-h312/tutti2.jpg" width="416" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Ma5s8qTyJ1cxwUCt8zeOkLNdKkncRF_whGgNZwT7AkbY1tTlCofE0uxKAu_kyt93HmQoZMqIjP8MsjVIoKuhTnpA8Ez6eN30ergGtT-d3Bue9EE2i-eTjYpxpk0o---yawDDYRSJX7xjDcNKDIAhqtRoEyOeeD_wCtSh9REkXYQOgieWl-oW9lHL/s640/tutti3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Ma5s8qTyJ1cxwUCt8zeOkLNdKkncRF_whGgNZwT7AkbY1tTlCofE0uxKAu_kyt93HmQoZMqIjP8MsjVIoKuhTnpA8Ez6eN30ergGtT-d3Bue9EE2i-eTjYpxpk0o---yawDDYRSJX7xjDcNKDIAhqtRoEyOeeD_wCtSh9REkXYQOgieWl-oW9lHL/w411-h308/tutti3.jpg" width="411" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0f5LRuxhfgbTk2tn1KfGdZ3yNaN6rrh47mbZCwTdks_ez84d7FfiGYkutnRdFRStJTHFHDzCStv54i66W5cTRIP_9Vu0dqikgoTdcLqjeOPvD7lkxW3EQECBdOZTfOaZU4I0WSvyLdRKflmfE1qmDPfCe95gYsuwWMe8xD-iPt-izsbttp_X5HO6e/s640/tutti4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0f5LRuxhfgbTk2tn1KfGdZ3yNaN6rrh47mbZCwTdks_ez84d7FfiGYkutnRdFRStJTHFHDzCStv54i66W5cTRIP_9Vu0dqikgoTdcLqjeOPvD7lkxW3EQECBdOZTfOaZU4I0WSvyLdRKflmfE1qmDPfCe95gYsuwWMe8xD-iPt-izsbttp_X5HO6e/w415-h312/tutti4.jpg" width="415" /></a></div><p>Um espectáculo conceptualmente conseguido mas por vezes um pouco confuso e musicalmente de interesse reduzido para mim.</p><p><span style="font-size: xx-large;">**</span></p><p><br /></p><p><span style="color: #2b00fe; font-size: large;">THE HOURS, METropolitan Opera, December 2022</span></p><p>The opera <b>The Hours</b> is a musical adaptation by <b>Kevin Puts</b> of the homonymous novel by <b>Michael Cunningham</b>. Directed by <b>Phelim McDermott</b>.</p><p>The action takes place in 3 different periods. The first in 1923 is Richmond, a London suburb where Virginia Woolf lives with her husband Leonard while writing Mrs Dalloway. The calm local environment seeks to help the author's already weak mental health, but she finds it oppressive.</p><p>The second is in Los Angeles in 1949 where Laura Brown (who reads Mrs Dalloway), her husband Dan on his birthday, and their son Richie try to live a suburban life in the American style of the time.</p><p>The third is in Manhattan, New York at the end of the 20th century, where Clarissa Vaughan prepares a party for the poet Richard, who is terminally ill with AIDS.</p><p>The 3 women, depressed, have in common the need to escape their realities and end up finding themselves in a transcendental space and time.</p><p>The theater was not spared in advertising this new production. It was advertised everywhere.</p><p>The conductor was<b> Yannick Nézet-Séguin</b>. The soloist roles were performed by 3 great American singers, Clarissa Vaughan by <b>Renée Fleming</b>, Virginia Woolf by <b>Joyce DiDonato</b> and Lara Brown by <b>Kelli O'Hara</b>. But, vocally, it was an excellent performance – Joyce Didonato – and the other medians, especially Fleming. Once imposing, the voice is degraded and often barely audible. </p><p>Of the other singers, the most outstanding were <b>Kyle Ketelsen </b>(Richard) <b>Kathleen Kim</b> (Barbara). <b>Sean Pannikar</b> (Leonard Woolf), <b>Tony Stevenson</b> (Walter), <b>Kai Edgar</b> (Richie), <b>William Burden</b> (Louis) and <b>Brandon Cedel</b> (Dan Brown) performed without dazzling.</p><p>A conceptually accomplished show but sometimes a little confusing and musically of little interest to me.</p><p><span style="font-size: x-large;">**</span></p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com0tag:blogger.com,1999:blog-6732274191821624755.post-53557251402194331872022-12-08T00:19:00.000+00:002022-12-08T00:19:04.155+00:00 LADY MACBETH OF MTSENSK, METropolitan OPERA, Outubro / October 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJRofw7yFOX8Ihn4BElDw35EkTcHryLbBnPk8VhQXyQUkSrNKsoIwgXrGwflQ8gLaTNou0DQf3F_02nruHwysLvrqb_cYAmsd7VMTpxoM7j192kAOZoIQSm-J20CV78JEqyW9t2lj1zosZ-Jt_0kpi1cPej9pFZf5LU81SN_GLJ9PwrBPYI5qn1o4Z/s640/cartaz%20Lady%20Macbeth%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJRofw7yFOX8Ihn4BElDw35EkTcHryLbBnPk8VhQXyQUkSrNKsoIwgXrGwflQ8gLaTNou0DQf3F_02nruHwysLvrqb_cYAmsd7VMTpxoM7j192kAOZoIQSm-J20CV78JEqyW9t2lj1zosZ-Jt_0kpi1cPej9pFZf5LU81SN_GLJ9PwrBPYI5qn1o4Z/w348-h464/cartaz%20Lady%20Macbeth%202.jpg" width="348" /></a></div><p style="text-align: center;">(Review in English below)</p><p><b>Dmitri Shostakovich</b> escreveu esta ópera ousada quando era muito jovem. Passa-se no distrito de Mtsensk, cerca de 240 Km a sul de Moscovo, e na Sibéria, para onde os criminosos eram deportados ao longo da história do País. A encenação de Graham Vick traz a acção para meados do Séc XX. </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8EkQ5ydqWvjveYR_QugoLU324nMezRNLQB6ia-6YEWY-KH_gMx5G5o7mVxAkxUW1xBWyPHY5JaU7F25dgBpGYjnN8sesAXkxel1Z8FuERZsrBPHkfY6I9-ldkyHbdwQ2T0kf_zysA_Y8p0OGf_it63RXsW7QLzxvHRrbHwNcyYD4oNzOYz9yTGteb/s640/cartaz%20pequeno%20Lady%20Macbeth.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8EkQ5ydqWvjveYR_QugoLU324nMezRNLQB6ia-6YEWY-KH_gMx5G5o7mVxAkxUW1xBWyPHY5JaU7F25dgBpGYjnN8sesAXkxel1Z8FuERZsrBPHkfY6I9-ldkyHbdwQ2T0kf_zysA_Y8p0OGf_it63RXsW7QLzxvHRrbHwNcyYD4oNzOYz9yTGteb/w312-h416/cartaz%20pequeno%20Lady%20Macbeth.jpg" width="312" /></a></div><br /><p>Katerina Ismailova leva uma vida desinteressante e sem paixão pelo marido Zinovy Ismailov. O sogro Boris Ismailov acusa-a de não lhe dar um neto, responsabilidade que ela atribui a Zinovy. Surge um novo empregado, Sergey, com quem Katerina se envolve sexualmente. A criada Aksynia diz que ele é um conquistador. Ao serem vistos pelo sogro, Katerina mata-o com cogumelos envenenados. O marido também é assassinado por ambos. Sergei e Katerina casam-se mas o corpo do marido é descoberto e são deportados para a Sibéria. Katerina encontra Sergei que a rejeita e lhe pede umas meias para dar a Sonyetka, uma nova conquista. Numa ponte, Katerina empurra Sonyetka e lança-se também à água, morrendo ambas afogadas.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUbNq7uWlrrCA7s4sVOIn3M196lQyH1zL1vSObvuy8s1buzvba0Mjz-mBABJrVb_l-v9c2DBmhBJSnMvMjgkPPKQmruY_OjBtP4a9KYkOQKcsjXoeOkbYHU49R_60Avwoy_87REfvNwS-sBEF-iRNkFs00E71ya8u6yo7gMUuRIM0C2Q-SUskfmlQd/s640/palco.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUbNq7uWlrrCA7s4sVOIn3M196lQyH1zL1vSObvuy8s1buzvba0Mjz-mBABJrVb_l-v9c2DBmhBJSnMvMjgkPPKQmruY_OjBtP4a9KYkOQKcsjXoeOkbYHU49R_60Avwoy_87REfvNwS-sBEF-iRNkFs00E71ya8u6yo7gMUuRIM0C2Q-SUskfmlQd/w410-h308/palco.jpg" width="410" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8koumFolJInqHl_eVlprtAV63JIpARuHC7CC66VGgmco_B3f_xkw37pwU0aA1_5rmmTBQZShn7fiQnZkQRCTQ0l70hrz2mJOODSrq0c3g6kXoropbGu_hN3-3dA3yyzkNMC76UmbrjynxcT50TZlRJsLNcE84LAXcAoOOGX4Pj2S5hSWDfIfUc078/s245/Maestrina.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="245" data-original-width="190" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8koumFolJInqHl_eVlprtAV63JIpARuHC7CC66VGgmco_B3f_xkw37pwU0aA1_5rmmTBQZShn7fiQnZkQRCTQ0l70hrz2mJOODSrq0c3g6kXoropbGu_hN3-3dA3yyzkNMC76UmbrjynxcT50TZlRJsLNcE84LAXcAoOOGX4Pj2S5hSWDfIfUc078/w251-h324/Maestrina.jpg" width="251" /></a></div><p>A direcção musical foi da maestrina <b>Keri-Lunn Wilson</b>. apesar de este tipo de música não ser o meu favorito, a <b>Orquestra</b> e o <b>Coro</b> foram excelentes</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0bpcsfH5wwGsksK7T0TftxvsmNEYMqOZejuzQhn-7uevMGsKYXqde8gOCjz_I1WMMVTtdo-DI5P22uQcyE6X74koMI8-5MRT9qMH2wV84NWp_UdE5JsrIezitchTaQORwvpz3VmKszYXuT0tjQS1o5su6at9sEQSgb_4WpXsGpIJEYQlEm5KT1RwH/s640/orquestra.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0bpcsfH5wwGsksK7T0TftxvsmNEYMqOZejuzQhn-7uevMGsKYXqde8gOCjz_I1WMMVTtdo-DI5P22uQcyE6X74koMI8-5MRT9qMH2wV84NWp_UdE5JsrIezitchTaQORwvpz3VmKszYXuT0tjQS1o5su6at9sEQSgb_4WpXsGpIJEYQlEm5KT1RwH/w412-h309/orquestra.jpg" width="412" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCxpKe60sTGJT9gnKAjLqJF0TaEKzF4MxaUcifvY0tYaP9aFgz1t4hMbM5qNA7XXNZVIi-y0-9Hmkev2RFw4nyN8AJJYzaxX2DEPGW23IhnqTVjlKQ5m8gyBZavybGEe4irHA_ISwte3KlaZyy3GdsrstuCkf-JdlxrN4k-Es_MLmVza38c9h9bCuB/s640/coro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCxpKe60sTGJT9gnKAjLqJF0TaEKzF4MxaUcifvY0tYaP9aFgz1t4hMbM5qNA7XXNZVIi-y0-9Hmkev2RFw4nyN8AJJYzaxX2DEPGW23IhnqTVjlKQ5m8gyBZavybGEe4irHA_ISwte3KlaZyy3GdsrstuCkf-JdlxrN4k-Es_MLmVza38c9h9bCuB/w420-h315/coro.jpg" width="420" /></a></div><p>Os solistas foram notáveis. A soprano <b>Svetlana Sozdateleva </b>fez uma Katerina Ismailova muito boa em cena, a encenação também ajuda, e a interpretação vocal foi irrepreensível. Voz de timbre muito agradável, bem audível em toda a extensão e transmitindo os diferentes estados de espírito da personagem.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc5OtkYa1O-alFqkXab-ZHqkrAz7-4ZajRpLvoL_It6zmc-j1m2A91SGiUhOf2oIplzhwaEvTgzN3-m91vcvtInofCrN2rcvbrTmcoAGcWQfIYbBjH1OtXowqgv0UHeuGY0jwBw8Z87fcbEuQLqlj3-DVmQZjRs6nvFWnUpuMC0db8Wk4QbHM7G0EN/s240/Katarina%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="203" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc5OtkYa1O-alFqkXab-ZHqkrAz7-4ZajRpLvoL_It6zmc-j1m2A91SGiUhOf2oIplzhwaEvTgzN3-m91vcvtInofCrN2rcvbrTmcoAGcWQfIYbBjH1OtXowqgv0UHeuGY0jwBw8Z87fcbEuQLqlj3-DVmQZjRs6nvFWnUpuMC0db8Wk4QbHM7G0EN/w229-h271/Katarina%201.jpg" width="229" /></a></div><p>Também a um nível superlativo esteve o tenor <b>Brandon Jovanovich</b> como Sergei. Notável tanto no desempenho cénico como no vocal, oferecendo-nos uma interpretação emotiva, convincente e sempre sobre a orquestra, mesmo quando esta toca em forte.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFB1QWoCKGn7FGSTUhbSj3ug0RNxkBzpf4XzwxiMNdkgIvP3SD60AY5Rb4zdaxORs0GnuWrJcOYBm481UQiC8gLqi7I551723YaNATEeEULw35X1zSGQE2JB9dsRFuUO6CDivz-wLV41UaBF4i1Ev_ZLjdEfc6Xy9C_9Y2vB411HZKtA5YKolxFZLX/s227/Sergei.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="227" data-original-width="149" height="279" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFB1QWoCKGn7FGSTUhbSj3ug0RNxkBzpf4XzwxiMNdkgIvP3SD60AY5Rb4zdaxORs0GnuWrJcOYBm481UQiC8gLqi7I551723YaNATEeEULw35X1zSGQE2JB9dsRFuUO6CDivz-wLV41UaBF4i1Ev_ZLjdEfc6Xy9C_9Y2vB411HZKtA5YKolxFZLX/w183-h279/Sergei.jpg" width="183" /></a></div><p><b> Nikolai Schukoff</b> foi um Zinovy Ismailov correcto, mas não mais que isso. A sua intervenção também é menor quando comparada com os restantes solistas.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGpGSh_pep-EBnb2FSTqwMpgLuVdNe2j1wJBUo2zdelPYjE1sNJIOtiS6OnpV3TRyvdSaiuAjE589Twp9vlOnHICT7AxS7XbnWarW4R52_AlFA-ChaI4naXgfzG8pvyyrX-F1mBvd5m7U0Shlss-9q_rTjs9yMkiJNZCUgqUaf5n9miHOJ3keVXJbI/s262/Zinovy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="262" data-original-width="210" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGpGSh_pep-EBnb2FSTqwMpgLuVdNe2j1wJBUo2zdelPYjE1sNJIOtiS6OnpV3TRyvdSaiuAjE589Twp9vlOnHICT7AxS7XbnWarW4R52_AlFA-ChaI4naXgfzG8pvyyrX-F1mBvd5m7U0Shlss-9q_rTjs9yMkiJNZCUgqUaf5n9miHOJ3keVXJbI/w242-h302/Zinovy.jpg" width="242" /></a></div><p>Verdadeiramente fabuloso e o melhor da noite foi o baixo <b>John Relyea</b> como Boris Ismailov. Que voz! Timbre muito bonito, interpretação marcante e uma potência vocal tal que parecia cantar com amplificação. Um espanto!</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiikz6NLwWWvdsErlzNe50RlucH2-6bZ1GsPOZP5rbbm8X7hCwSXhCEfGLZDsgpLyo6kkc-5l1-yLMatRG_EeC1q5I9TE9ZmZIKkqw8WtSFSRdwaO9GzvKdyeILuwJbXUIeeRpwm6N2_MYEx7E3Q0es0HX1yAjn-pi2c2aNSXdzPbqXdO6wPos7B-4P/s225/Boris.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="151" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiikz6NLwWWvdsErlzNe50RlucH2-6bZ1GsPOZP5rbbm8X7hCwSXhCEfGLZDsgpLyo6kkc-5l1-yLMatRG_EeC1q5I9TE9ZmZIKkqw8WtSFSRdwaO9GzvKdyeILuwJbXUIeeRpwm6N2_MYEx7E3Q0es0HX1yAjn-pi2c2aNSXdzPbqXdO6wPos7B-4P/w191-h285/Boris.jpg" width="191" /></a></div><p>Nos papéis secundários<b> Maria Barakova</b> foi Sonyetka, <b>Goran Juric</b> um padre, <b>Alexey Shishlyaev</b> o sargento da policia e <b>Alexander Tsymbalyuk</b> um velho condenado, todos com interpretações de qualidade.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjopaBovEG-ip7IIht6qIHXC18Y6eOXVgEJHva5-BBfRbu3lGb1zMpgI3fCQQU_UmMfLLw2oxlIqbR-K3rkKadAlfmtsDrUjXowN-qXsfpPhG7EIe_juqiySnKH0BUVG04PimYi2IYlys4unO6SJ7lL83em7z7kYvQpahXvimRAnwcoEbe4pNeWLP5k/s617/tutti1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="389" data-original-width="617" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjopaBovEG-ip7IIht6qIHXC18Y6eOXVgEJHva5-BBfRbu3lGb1zMpgI3fCQQU_UmMfLLw2oxlIqbR-K3rkKadAlfmtsDrUjXowN-qXsfpPhG7EIe_juqiySnKH0BUVG04PimYi2IYlys4unO6SJ7lL83em7z7kYvQpahXvimRAnwcoEbe4pNeWLP5k/w402-h254/tutti1.jpg" width="402" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Js_BpAUp7sd3vfN4F_Bnbs8Y5sXfTwjNbDU4JFR1EvaEStQjfqzUQoA2DGY-xTqGzKLDRmRi_qud10pa7djUoVRAOK8qx34aHRIwS3dcMq15opwC5Na9wkg0Aae_5gUpb6AXLE75fspamRvNfFWHuC2PymY83FQ9B8q-8TEjeZO3GIwL0Ksft5ND/s640/tutti2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Js_BpAUp7sd3vfN4F_Bnbs8Y5sXfTwjNbDU4JFR1EvaEStQjfqzUQoA2DGY-xTqGzKLDRmRi_qud10pa7djUoVRAOK8qx34aHRIwS3dcMq15opwC5Na9wkg0Aae_5gUpb6AXLE75fspamRvNfFWHuC2PymY83FQ9B8q-8TEjeZO3GIwL0Ksft5ND/w409-h307/tutti2.jpg" width="409" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPVCjlQruDSb4o4OzMLo1C8afyzHSAmNYnLhTI7rmVZzbOHJA9E1k_RU-uDumVSzWufcdljhZ8snscF8mS8aujpDcLSd7eU-KleJu0DIyvo3jfrjYIVB3FBuB8gxIqwJPCgsy1wKTeGTkEphxOULKAmcLVOyBGs1N62P5WC8a76fc1CTSuL3GqbjCk/s622/tutti3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="349" data-original-width="622" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPVCjlQruDSb4o4OzMLo1C8afyzHSAmNYnLhTI7rmVZzbOHJA9E1k_RU-uDumVSzWufcdljhZ8snscF8mS8aujpDcLSd7eU-KleJu0DIyvo3jfrjYIVB3FBuB8gxIqwJPCgsy1wKTeGTkEphxOULKAmcLVOyBGs1N62P5WC8a76fc1CTSuL3GqbjCk/w413-h233/tutti3.jpg" width="413" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU2OZiwMRvoAz_WBNk2w9xy-6gqndGjH3pbOIplPCT-Mdd694-V32cecxuRlhwKzgQHVSZm0SWgEE_AwCpCET-I-V2bsw_TFI16wxe45VA9WU5YiDQRAB1eReNYnbod5Zr-mi2SKhYlC4kenAg5zxqgfwJX_k2dNf64kbbkH8-6sEIq9Lgicyn8tSJ/s640/tutti4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU2OZiwMRvoAz_WBNk2w9xy-6gqndGjH3pbOIplPCT-Mdd694-V32cecxuRlhwKzgQHVSZm0SWgEE_AwCpCET-I-V2bsw_TFI16wxe45VA9WU5YiDQRAB1eReNYnbod5Zr-mi2SKhYlC4kenAg5zxqgfwJX_k2dNf64kbbkH8-6sEIq9Lgicyn8tSJ/w415-h311/tutti4.jpg" width="415" /></a></div><p><span style="font-size: x-large;">****</span> </p><p><br /></p><p><span style="color: #2b00fe; font-size: large;">LADY MACBETH OF MTSENSK, MEtropolitan OPERA, October 2022</span></p><p><b>Dmitri Shostakovich</b> wrote this daring opera when he was very young. It takes place in the district of Mtsensk, about 240 km south of Moscow, and in Siberia, where criminals were deported throughout the country's history. <b>Graham Vick</b>'s staging brings the action to the mid-20th century.</p><p>Katerina Ismailova lives an uninteresting and passionless life for her husband Zinovy Ismailov. Her father-in-law Boris Ismailov accuses her of not giving him a grandchild, a responsibility she attributes to Zinovy. A new employee appears, Sergey, with whom Katerina becomes sexually involved. The maid Aksynia says he's a conqueror. Upon being seen by her father-in-law, Katerina kills him with poisoned mushrooms. The husband is also murdered by both. Sergei and Katerina get married but her husband's body is discovered and they are deported to Siberia. Katerina finds Sergei who rejects her and asks her for some socks to give Sonyetka, a new conquest. On a bridge, Katerina pushes Sonyetka and throws herself into the water, both drowning.</p><p>The musical direction was by conductor <b>Keri-Lunn Wilson</b>. Although this type of music is not my favorite, the Orchestra and the Choir were excellent.</p><p>The soloists were remarkable. Soprano <b>Svetlana Sozdateleva</b> made a very good Katerina Ismailova on stage, the staging also helps, and the vocal interpretation was impeccable. Voice with a very pleasant timbre, well audible throughout and conveying the different moods of the character.</p><p>Also at a superlative level was tenor <b>Brandon Jovanovich</b> as Sergei. Remarkable in both scenic and vocal performance, offering us an emotional, convincing interpretation always above the orchestra, even when it is playing loudly.</p><p><b>Nikolai Schukoff</b> was a correct Zinovy Ismailov, but no more. His intervention is also smaller when compared to the other soloists.</p><p>Truly fabulous and the best of the night was bass <b>John Relyea </b>as Boris Ismailov. What a voice! Very beautiful timbre, outstanding interpretation and such a vocal power that he seemed to sing with amplification. Astonishing!</p><p>In supporting roles <b>Maria Barakova</b> was Sonyetka, <b>Goran Juric</b> a priest, <b>Alexey Shishlyaev</b> the police sergeant and <b>Alexander Tsymbalyu</b>k an old convict, all with good performances.</p><p><span style="font-size: x-large;">****</span></p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com1tag:blogger.com,1999:blog-6732274191821624755.post-13514890950964153082022-12-01T20:01:00.000+00:002022-12-01T20:01:03.317+00:00 PETER GRIMES, METropolitan OPERA, New York, Outubro / October 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidLRcGXlDeEG1eb2rJjpZo2vHWl340ySsxhW-fQ6l5CgeGa1C0fsjvAOSU4mh7-RRa_9aSR_1Q7ADyhi-7GOxlWH338oykKU3re6gcRkR1KGxgjlKbkGI8VRA7Jb4Ms9t3edQecm3C6VRJZZxlGunrwFO9XFZAcsPU4duRRFNWxQNaRGQX76XsD_pc/s628/cartaz%20Peter%20Grimes.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="628" data-original-width="343" height="532" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidLRcGXlDeEG1eb2rJjpZo2vHWl340ySsxhW-fQ6l5CgeGa1C0fsjvAOSU4mh7-RRa_9aSR_1Q7ADyhi-7GOxlWH338oykKU3re6gcRkR1KGxgjlKbkGI8VRA7Jb4Ms9t3edQecm3C6VRJZZxlGunrwFO9XFZAcsPU4duRRFNWxQNaRGQX76XsD_pc/w291-h532/cartaz%20Peter%20Grimes.jpg" width="291" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>(Review in English below)</p><p>A ópera <b>Peter Grimes </b>de <b>B Britten</b> passa-se numa pequena aldeia piscatória no litoral de Inglaterra. O pescador Peter Grimes, contra a vontade dos aldeões, é ilibado da morte do seu mais recente aprendiz e não deverá contratar outros. Poucos dias depois um boticário arranja num orfanato um novo aprendiz, John. A comunidade desaprova mas a professora Ellen Orford e um comandante reformado, Balstorde, apoiam-no. Grimes quer enriquecer com a pesca para casar com Ellen. Aproxima-se uma grande tempestade e ele quer ir para o mar. Ellen contraria-o e critica-o por ter molestado John que tem cicatrizes no pescoço. A população dirige-se à cabana de Grimes. Nas traseiras, a tempestade originou um desabamento de terras e John cai para o mar e morre. Grimes lança-se atrás dele e desaparecem ambos. Balstrode, dias mais tarde, vê o barco de Grimes e, com Ellen, recolhe-o. A aldeia está vazia. Balstrode aconselha-o a levar o barco para o mar e afundá-lo. No dia seguinte os aldeões vêem um barco afundar-se, mas longe de mais para poder ser salvo.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5JSgyuGodyHeY0-hZFsi4niCibJLi5-6YD_xxEVopHLQyRDzWL52hKGcQM1o1xd9px9RbGW4um-hX1McsLtTGOCZWE-sNdDXpvYso8AabQ1XhpRmezZwu2kWhcUNG6kCFbmIGxO6LlClRRm3eankZzwq_FhCe9EuxiLQ2ujKkg9x2WmmdPAo072x8/s640/cartaz%20pequeno%20Peter%20Grimes.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5JSgyuGodyHeY0-hZFsi4niCibJLi5-6YD_xxEVopHLQyRDzWL52hKGcQM1o1xd9px9RbGW4um-hX1McsLtTGOCZWE-sNdDXpvYso8AabQ1XhpRmezZwu2kWhcUNG6kCFbmIGxO6LlClRRm3eankZzwq_FhCe9EuxiLQ2ujKkg9x2WmmdPAo072x8/w339-h452/cartaz%20pequeno%20Peter%20Grimes.jpg" width="339" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>A encenação de <b>John Doyle </b>é relativamente simples mas muito eficaz. Uma enorme fachada de casa em madeira, com portas a várias alturas, funciona bem nas várias cenas. As paredes também se afastam, o que permite criar situações adicionais de bom efeito cénico. Há ocasionalmente projecções excelentes (em particular do mar revolto). O ambiente é escuro como a ópera, os aldeões (coro) aparecem de cinzento escuro ou negro e não se misturam com Grimes. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfweMSYHQVCjwwkblhX1zkCtjYOSTS1dC_6V1qv9ToRUq6DkZs39AiTxowCEazj9u7ZUcsWAHockvsjjhNfkIx75dQVBtKQm48WA_2Qf1zxiIjZd35j2Dyp9HOI8urgPXyrgvH4imLPvsrRxkP8fC8eSdQi2xxQP_WVl5COeLy_e7lw_z64RvhdFE4/s640/cortina.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfweMSYHQVCjwwkblhX1zkCtjYOSTS1dC_6V1qv9ToRUq6DkZs39AiTxowCEazj9u7ZUcsWAHockvsjjhNfkIx75dQVBtKQm48WA_2Qf1zxiIjZd35j2Dyp9HOI8urgPXyrgvH4imLPvsrRxkP8fC8eSdQi2xxQP_WVl5COeLy_e7lw_z64RvhdFE4/w382-h287/cortina.jpg" width="382" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>O maestro foi <b>Nicholas Carter</b>. A Orquestra tocou bem e o Coro salientou-se nas muitas e expressivas intervenções. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqjOStuNI9gpYW-yg9vJXxJ6KHd1E_eOouXSojUBZFN_aKZc9chM0zcRLtB3P1dhvZ77nH6pu_6Nsf4_lysgsgv7K_MTMkh-ZnXGJqgf9pVrH63wBrqK5QLC7PY2kSKAKgzKurJ7ApRF1YTzZ-xLGPnPhTtERxJyDeo2FZDrWZb2Kp0bh9JwukHS1B/s196/maestro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="196" data-original-width="146" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqjOStuNI9gpYW-yg9vJXxJ6KHd1E_eOouXSojUBZFN_aKZc9chM0zcRLtB3P1dhvZ77nH6pu_6Nsf4_lysgsgv7K_MTMkh-ZnXGJqgf9pVrH63wBrqK5QLC7PY2kSKAKgzKurJ7ApRF1YTzZ-xLGPnPhTtERxJyDeo2FZDrWZb2Kp0bh9JwukHS1B/w205-h275/maestro.jpg" width="205" /></a></div><br /><p>A música de Britten não é das que mais aprecio, tem passagens líricas alternadas com dissonâncias. Contudo, os interlúdios musicais alusivos ao mar são impressionantes, muito ajudados pela encenação, com as projecções de mar agitado já referidas.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyiOAIrIlalRy0U_9QaKCxSwHK1UcuwD1L96VoUGRgm00mEkssBJn7ngkbnpEftjn6PypEaBefqfPxf_GNc_q8b5s9xLYAujAw9NwyOW9ZVdRVojGR4pSUnztHSlI8f5JMQfDLx6Q-zjlO8hbKx67yBOTvZoTOWO4k9Qe3XaQl_bXuqfrLVrCgbOrq/s640/%20coro%20e%20orquestra.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyiOAIrIlalRy0U_9QaKCxSwHK1UcuwD1L96VoUGRgm00mEkssBJn7ngkbnpEftjn6PypEaBefqfPxf_GNc_q8b5s9xLYAujAw9NwyOW9ZVdRVojGR4pSUnztHSlI8f5JMQfDLx6Q-zjlO8hbKx67yBOTvZoTOWO4k9Qe3XaQl_bXuqfrLVrCgbOrq/w423-h317/%20coro%20e%20orquestra.jpg" width="423" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;">O tenor </span><b style="text-align: left;">Allan Clayton </b><span style="text-align: left;">foi Peter Grimes. Cantou bem, sempre sobre a orquestra e conseguiu transmitir a sua exclusão da comunidade, uma componente essencial da ópera. </span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGClRSoQAgcwIt6SlaiL2hmIqGBH3V1Cv5Spw8DYGEhWnOq9MTIvkP8ZGiBsMl7tGpltwVLmV9bDbx6oXk15wA0ERA9PagE8rcPZo7eEYRJPVlNWH0EOoU2wfDTcDj37LzneV6-yiWW7KthMqkBLtMyeuH6_PLCAvd1-ydQhBePK1Sv6HRVzwRdzeC/s215/Peter%20Grimes%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="215" data-original-width="135" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGClRSoQAgcwIt6SlaiL2hmIqGBH3V1Cv5Spw8DYGEhWnOq9MTIvkP8ZGiBsMl7tGpltwVLmV9bDbx6oXk15wA0ERA9PagE8rcPZo7eEYRJPVlNWH0EOoU2wfDTcDj37LzneV6-yiWW7KthMqkBLtMyeuH6_PLCAvd1-ydQhBePK1Sv6HRVzwRdzeC/w203-h323/Peter%20Grimes%202.jpg" width="203" /></a></div><br /><p>A soprano <b>Nicole Car</b> foi para mim a melhor da noite no papel de Ellen Orford. É uma cantora que muito aprecio graças à beleza vocal e ao seu empenho marcante nas interpretações que leva à cena. Mais uma vez, foi óptima. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzNaJAdFm7WFFFvsmPRuz8zEngryy1rfMaqjujIBfrDJ72Hz172Bv3n7O7vj_wr5y14I_LNDtvQjISA2FszJbpgdRoJCm5CNQFaaHWoT8QChO7mlcW5hnSJ84ZtAnI0sIX0QTF0aLpFA37f6U_GLRAUgG7H481tbeFZEt0EO4-4eFOzhfbtlLGD_1K/s202/Ellen%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="202" data-original-width="180" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzNaJAdFm7WFFFvsmPRuz8zEngryy1rfMaqjujIBfrDJ72Hz172Bv3n7O7vj_wr5y14I_LNDtvQjISA2FszJbpgdRoJCm5CNQFaaHWoT8QChO7mlcW5hnSJ84ZtAnI0sIX0QTF0aLpFA37f6U_GLRAUgG7H481tbeFZEt0EO4-4eFOzhfbtlLGD_1K/w218-h244/Ellen%202.jpg" width="218" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu945XliEG1kuqDwofSKZowWqkNyF6xj-6F0W8Dqo6AKt75jZHFyLvq86pC7rMLzhgXhcbO7ctPo9ABNa3ntEDBsZevEiXSTznPb2wM5enESgqrx_z8AcyahLXFKx5dpa9ZRIbHHEzTlf1lcp2BKh-Tfse3RkQ3Sj8a-HQ_ydTG86M2JCxvhzR495T/s232/Ellen.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="232" data-original-width="159" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu945XliEG1kuqDwofSKZowWqkNyF6xj-6F0W8Dqo6AKt75jZHFyLvq86pC7rMLzhgXhcbO7ctPo9ABNa3ntEDBsZevEiXSTznPb2wM5enESgqrx_z8AcyahLXFKx5dpa9ZRIbHHEzTlf1lcp2BKh-Tfse3RkQ3Sj8a-HQ_ydTG86M2JCxvhzR495T/w174-h254/Ellen.jpg" width="174" /></a></div><br /><p>O barítono Adam <b>Plachetka</b> foi um Balstrode afinado, bem audível e, dentro do que a personagem permite, correcto na postura cénica.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh39xzYEO1K56DUpBM7-OgXCGz8KQe2B5zq2ALvGp7hNn1vSw8tAcScAI8RAIfLtLlrvWUSU2n-Uss40RRqg08wzw4-1-iTgG_UmlPYgjawdyepTG2WSA_SvIyQ16NSYvNwW-H8rA8VzkA_QveTaKBX7kh3ZxgKKM7RQ1K7VgcWfjty_qexXFskum2H/s235/Balstrode%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="235" data-original-width="208" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh39xzYEO1K56DUpBM7-OgXCGz8KQe2B5zq2ALvGp7hNn1vSw8tAcScAI8RAIfLtLlrvWUSU2n-Uss40RRqg08wzw4-1-iTgG_UmlPYgjawdyepTG2WSA_SvIyQ16NSYvNwW-H8rA8VzkA_QveTaKBX7kh3ZxgKKM7RQ1K7VgcWfjty_qexXFskum2H/w259-h292/Balstrode%202.jpg" width="259" /></a></div><p>Vários cantores secundários têm pequenas participações, incluindo Harold Wilson (Hobson), Patrick Carfizzi (Swallow), Michaela Martens (Mrs. Sedley), Denyce Graves (Auntie), Chad Shelton (Bob Boles), Tony Stevenson (Rev. Adams) e Justin Austin (Ned Keene).</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghq-a88zptFXlBRAVgSlRK33rGxZMRH3mlPBMxVU7-EVeDvQfH4TAOUSnSPZCC4IqPi6SVhLlH8_OCvhpd65uvnX6TI4D2FPf9KmzqqpTs7o7yVrv_mUkPe0LjsPqS-Z7Fi8Ne4hEPJX9Z0laWUVo_40wB6by3SC2yv1NQmeBi2Kvfk62Tyj1Dabk-/s625/tutti1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="285" data-original-width="625" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghq-a88zptFXlBRAVgSlRK33rGxZMRH3mlPBMxVU7-EVeDvQfH4TAOUSnSPZCC4IqPi6SVhLlH8_OCvhpd65uvnX6TI4D2FPf9KmzqqpTs7o7yVrv_mUkPe0LjsPqS-Z7Fi8Ne4hEPJX9Z0laWUVo_40wB6by3SC2yv1NQmeBi2Kvfk62Tyj1Dabk-/w404-h185/tutti1.jpg" width="404" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIhQfwjC5_SXJGQNB-AI9eFrPG433ZEgCNqOml55vlqFK-hLU5NglV-1yBFWxTGrwxx0m3kneXqgk_qBaVd8Jbtl_jJzPcJJu0O6IJPjq97ZMDP9ld5p22IyzLeTTwYXs0lfh2WaYlYbIJG84MnaS_rUvH6r1vKCpynaveaJd0MZYJz6gOgvVEeOox/s640/tutti2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIhQfwjC5_SXJGQNB-AI9eFrPG433ZEgCNqOml55vlqFK-hLU5NglV-1yBFWxTGrwxx0m3kneXqgk_qBaVd8Jbtl_jJzPcJJu0O6IJPjq97ZMDP9ld5p22IyzLeTTwYXs0lfh2WaYlYbIJG84MnaS_rUvH6r1vKCpynaveaJd0MZYJz6gOgvVEeOox/w423-h317/tutti2.jpg" width="423" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilu4B6E2oVUTPmID_i0czcokbxpuEl9pLAUJ-l2pctT_2fG2CUu3dy-An3yQbIVVwXQ2pX-5_7KbngqdbEcjj0WNYp2ZR4mFswRWX-kyzo3iiQ7pLPDhVi9Ilt6K9KKuA0PVugZ-SPRoItQroHe1Bnt-npliS4xDB0sH-rMtHib0_8kixmQJNYdTgw/s633/tutti3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="321" data-original-width="633" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilu4B6E2oVUTPmID_i0czcokbxpuEl9pLAUJ-l2pctT_2fG2CUu3dy-An3yQbIVVwXQ2pX-5_7KbngqdbEcjj0WNYp2ZR4mFswRWX-kyzo3iiQ7pLPDhVi9Ilt6K9KKuA0PVugZ-SPRoItQroHe1Bnt-npliS4xDB0sH-rMtHib0_8kixmQJNYdTgw/w426-h216/tutti3.jpg" width="426" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4Epx6CsZSpPsgAtYLXooZ2i8PQ_eY-4PuF3ap3K_Dj9yj9CfAiimkOeKA46XnvI7phVvhVWuVb-mcQR28eA92RQM0QG7-rQ1QdoPt8MdJk6Fii3TXuNVwrCmF4O7bWchJH1k32f6QXZeFqiW9MW8zHuOY79appZa14c06rI8lNqMNxQxGBGrZA4TM/s640/tutti4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4Epx6CsZSpPsgAtYLXooZ2i8PQ_eY-4PuF3ap3K_Dj9yj9CfAiimkOeKA46XnvI7phVvhVWuVb-mcQR28eA92RQM0QG7-rQ1QdoPt8MdJk6Fii3TXuNVwrCmF4O7bWchJH1k32f6QXZeFqiW9MW8zHuOY79appZa14c06rI8lNqMNxQxGBGrZA4TM/w432-h324/tutti4.jpg" width="432" /></a></div><p><br /></p><p><span style="font-size: x-large;">***</span></p><p>PETER GRIMES, METropolitan OPERA, New York, October 2022</p><p>The opera <b>Peter Grimes </b>by <b>B Britten </b>takes place in a small fishing village on the coast of England. </p><p>The fisherman Peter Grimes, against the wishes of the villagers, is cleared by a lawyer of the death of his latest apprentice and must not hire others. A few days later, an apothecary finds a new apprentice, John, in an orphanage. The community disapproves but professor Ellen Orford and a retired sea captain, Balstorde, support him. Grimes wants to get rich from fishing to marry Ellen. A big storm is coming and he wants to go to sea. Ellen antagonizes him and criticises him for molesting John who has scars on his neck. The villagers head to Grimes' hut. In the back, the storm caused a landslide and John falls into the sea and dies. Grimes launches after him and they both disappear. Balstrode, days later, sees Grimes' boat and, with Ellen, picks him up. The village is empty. Balstrode advises Grimes to take the boat out to sea and sink it. The next day the villagers see a boat sinking, but too far away to be saved.</p><p><b>John Doyle</b> staging is relatively simple but very effective. A huge wooden house facade, with doors at various heights, works well in the different scenes. The walls also move away, which makes it possible to create additional situations with a good scenic effect. There are occasionally excellent projections (particularly of the rough sea). The atmosphere is dark like the opera, the villagers (chorus) appear dressed in dark gray or black and don't mix with Grimes.</p><p>The conductor was <b>Nicholas Carter.</b> The Orchestra played well and the Choir stood out in its many expressive interventions.</p><p>Britten's music is not one of my favorites, it has lyrical passages alternating with dissonances. However, the musical interludes alluding to the sea are impressive, greatly aided by the staging, with the previously mentioned rough sea projections.</p><p>Tenor <b>Allan Clayton</b> was Peter Grimes. He sang well, always over the orchestra and managed to convey his exclusion from the community, an essential component of the opera.</p><p>Soprano <b>Nicole Car</b> was for me the best of the night in the role of Ellen Orford. She is a singer that I really appreciate thanks to her vocal beauty and her remarkable commitment to the interpretations she brings to the scene. Once again, she was great.</p><p>Baritone <b>Adam Plachetka</b> was a finely tuned Balstrode, very audible and, as far as the character allows, correct in the scenic posture.</p><p>Several supporting singers participate, including Harold Wilson (Hobson), Patrick Carfizzi (Swallow), Michaela Martens (Mrs. Sedley), Denyce Graves (Auntie), Chad Shelton (Bob Boles), Tony Stevenson (Rev. Adams) and Justin Austin (Ned Keene).</p><p><span style="font-size: x-large;">***</span></p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com0tag:blogger.com,1999:blog-6732274191821624755.post-32637582394338839292022-11-24T06:33:00.002+00:002022-11-24T06:33:09.910+00:00 TOSCA, METropolitan OPERA, New York, Outubro / October 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgeuayfQ9Lv3zlrkksSKY1VBAvFGfHD5mMGEmOh4kkkT-Qe3JEMaoL7MLwJ5wP_gVI0MS7bPVkP6qXRV96y2lfp-altn-jPzzhIVEep0Ok7Bii2_2TnTJPlNc-nB7jgR3XKQP3DWrA9UoxGAUEipnUEBOtjW11HPMBt7hwSnDz9s2FV93OhoOCI5LU/s632/cartaz%20Tosca%20melhor.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="632" data-original-width="300" height="503" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgeuayfQ9Lv3zlrkksSKY1VBAvFGfHD5mMGEmOh4kkkT-Qe3JEMaoL7MLwJ5wP_gVI0MS7bPVkP6qXRV96y2lfp-altn-jPzzhIVEep0Ok7Bii2_2TnTJPlNc-nB7jgR3XKQP3DWrA9UoxGAUEipnUEBOtjW11HPMBt7hwSnDz9s2FV93OhoOCI5LU/w239-h503/cartaz%20Tosca%20melhor.jpg" width="239" /></a></div><p style="text-align: center;">(review in English below)</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYf_uK_YhOJQAPQowBjynVR-h-uLZBkX6J089b_q1LkHKYzKEDiXqUyrc1brikU7YxnUpspv9NXuYlMUYmvnQxzmnznaYYkSLTPl6zzQ3f3g9P_tnrxqLyJpMeuk55rwvOetwq4XCSaWi6mJA7AWHJa72CbvsAiq6ixc98f3wE1RnFuU-OhEt95cTS/s545/cartaz%20pequeno%20Tosca.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="545" data-original-width="444" height="381" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYf_uK_YhOJQAPQowBjynVR-h-uLZBkX6J089b_q1LkHKYzKEDiXqUyrc1brikU7YxnUpspv9NXuYlMUYmvnQxzmnznaYYkSLTPl6zzQ3f3g9P_tnrxqLyJpMeuk55rwvOetwq4XCSaWi6mJA7AWHJa72CbvsAiq6ixc98f3wE1RnFuU-OhEt95cTS/w311-h381/cartaz%20pequeno%20Tosca.jpg" width="311" /></a></div><p>A <b>Tosca</b> de <b>G Puccini</b> voltou a ser posta em cena na <b>Metropolitan Opera</b> de Nova Iorque, na magnífica e sumptuosa produção de <b>David McVicar</b> que, depois da curta e muito má recepção da anterior encenação desta ópera (da autoria de Luc Bondy, muito feia e um perfeito exemplo do <i>eurotrash</i> que, por estes lados, não é nada apreciado) mostrou ser capaz de fazer uma abordagem clássica com a mesma qualidade de outras mais modernas que tem assinado.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2Rq-VSy48CllZvyo9qcRSzQ2R0wHyjtScPrRoCMEAOzcWr8o_SbcIOGKe3mpZqfHQYU4fuf6SmVZWUtHFYDaMv-e3RtBEPfYVEHsHI3Z5haj_l8LXoLSGd8qyCm62Uw9SpagiUo2lccq2A0GPNeE0izBFZIaMJ67hvFDPnD4Uo8DQYuKOo1Y-JJyg/s640/cortina%20Tosca.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2Rq-VSy48CllZvyo9qcRSzQ2R0wHyjtScPrRoCMEAOzcWr8o_SbcIOGKe3mpZqfHQYU4fuf6SmVZWUtHFYDaMv-e3RtBEPfYVEHsHI3Z5haj_l8LXoLSGd8qyCm62Uw9SpagiUo2lccq2A0GPNeE0izBFZIaMJ67hvFDPnD4Uo8DQYuKOo1Y-JJyg/w295-h393/cortina%20Tosca.jpg" width="295" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3NRJtWGwsJ0BGIGgDPgA7SRpdEgG8gx0zYqQV7kn0ayGXjVEdnfzfkkQ8h8e0JhDDaFij49UCIYok_yHEf1n3RmPl14DyKgoGYGzLYv5dbPNOQTy416KkHX5A9cqT5Xk4a2-dvDBRkHmYjXKWfU5zsZ2WWqc_-R1LlyqX4bp0qdFcoNoHZ7XkRrht/s580/cenario%20final%20Tosca%20melhor.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="373" data-original-width="580" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3NRJtWGwsJ0BGIGgDPgA7SRpdEgG8gx0zYqQV7kn0ayGXjVEdnfzfkkQ8h8e0JhDDaFij49UCIYok_yHEf1n3RmPl14DyKgoGYGzLYv5dbPNOQTy416KkHX5A9cqT5Xk4a2-dvDBRkHmYjXKWfU5zsZ2WWqc_-R1LlyqX4bp0qdFcoNoHZ7XkRrht/w412-h265/cenario%20final%20Tosca%20melhor.jpg" width="412" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;">Dirigiu a Orquestra (que, surpreendentemente, não esteve isenta de falhas, sobretudo nos metais) o maestro </span><b style="text-align: left;">Carlo Rizzi</b><span style="text-align: left;">. O Coro foi excelente.</span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFZU7kMz6GxV6YbL98XAYT5BobFSWM0bIqEbFn6hpLiuTyVrj1JLdKxp4Nhx9pmxURhHc3NA4EuqNVRaPKfVzguds3eH7w0ljtESA2Qs1_LRzdOg3wWGWl0lVzcnvNastykCtMyN72Jpe4YSC1-v2M8MdFkJM17by8w5g9FyqZx7aYjDyJEG8vHPkq/s319/Maestro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="273" data-original-width="319" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFZU7kMz6GxV6YbL98XAYT5BobFSWM0bIqEbFn6hpLiuTyVrj1JLdKxp4Nhx9pmxURhHc3NA4EuqNVRaPKfVzguds3eH7w0ljtESA2Qs1_LRzdOg3wWGWl0lVzcnvNastykCtMyN72Jpe4YSC1-v2M8MdFkJM17by8w5g9FyqZx7aYjDyJEG8vHPkq/s1600/Maestro.jpg" width="319" /></a></div><br /><p>A soprano <b>Aleksandra Kurzak</b> foi uma Tosca magnífica, tanto na representação cénica como vocal. Tem uma voz muito bonita, agudos seguros e não forçados e ouve-se sempre sobre a orquestra. Foi, de longe, a melhor da noite.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq0MJO2MNhtuc4bkTbia6uYAIsEj5-X-EOEccuzEHz0TgUL4tITZOtDEUIKY2qSiOMhZV2BQJVvWGWIoyc2YKQ-ysv3442C_Rj13q6wWnSpgbCEA9RVv8Xd0BiOhosJf-UuVTb2ABbbJ2VNSWgrz3KI0CJ9uAuxrUVY_Q9fuj-jQgjMiliLX_c6Y01/s195/Tosca%20na%CC%83o%3F%3F.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="195" data-original-width="158" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq0MJO2MNhtuc4bkTbia6uYAIsEj5-X-EOEccuzEHz0TgUL4tITZOtDEUIKY2qSiOMhZV2BQJVvWGWIoyc2YKQ-ysv3442C_Rj13q6wWnSpgbCEA9RVv8Xd0BiOhosJf-UuVTb2ABbbJ2VNSWgrz3KI0CJ9uAuxrUVY_Q9fuj-jQgjMiliLX_c6Y01/w201-h248/Tosca%20na%CC%83o%3F%3F.jpg" width="201" /></a></div><p>O tenor <b>Michael Fabiano</b> cumpriu o papel de Cavaradossi sem grande brilho vocal. Em cena esteve bem, mas a emissão foi por vezes irregular e tem um timbre algo agreste.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoKKiDjTKii5cYBsV2xjJLvIeCvt6UkX8nyXe4AifgPjQQSeRtLlMkMXVtuGt4bLw2uNPuv4kTGaFjv3Y00gGWSEa3lTwTmfRjU2lFF1qaWKCUS-oYO0x2I8M3iICC8ywFKdqV9I2ERCv6O6_fupaqbLIK-5VAQGI-WMhKI_C3VPyiQc4XUnNaB8K3/s226/Cavaradossi%203%20a%20usar%3F%3F.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="226" data-original-width="172" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoKKiDjTKii5cYBsV2xjJLvIeCvt6UkX8nyXe4AifgPjQQSeRtLlMkMXVtuGt4bLw2uNPuv4kTGaFjv3Y00gGWSEa3lTwTmfRjU2lFF1qaWKCUS-oYO0x2I8M3iICC8ywFKdqV9I2ERCv6O6_fupaqbLIK-5VAQGI-WMhKI_C3VPyiQc4XUnNaB8K3/w213-h280/Cavaradossi%203%20a%20usar%3F%3F.jpg" width="213" /></a></div><p>O Scarpia do barítono <b>George Gagnidze</b> foi muito ajudado pela encenação mas o cantor foi muito estático, algo monocórdico, pouco emotivo e sempre que a orquestra tocava mais alto, deixava de se ouvir. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQRw-A46IXNsUzwZecYh5sVksfB9Qqihi8ne9pnKr1W-Inxt30PInKjV0_SJjaYgG2irHJ9DSwO-VGPqCcGjsb9Jz9Y-5KTq7ooIe8uLKq70mBEpijPxITmCCxI1n1uUf05b5hBSoAav2pLcD80WgGZwRfxFrL7R4yQmAn29LM63nnIcV8z2MgGIH9/s225/Scarpia%20na%CC%83o%3F%3F.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="147" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQRw-A46IXNsUzwZecYh5sVksfB9Qqihi8ne9pnKr1W-Inxt30PInKjV0_SJjaYgG2irHJ9DSwO-VGPqCcGjsb9Jz9Y-5KTq7ooIe8uLKq70mBEpijPxITmCCxI1n1uUf05b5hBSoAav2pLcD80WgGZwRfxFrL7R4yQmAn29LM63nnIcV8z2MgGIH9/w183-h280/Scarpia%20na%CC%83o%3F%3F.jpg" width="183" /></a></div><p>Nos papéis secundários, com interpretações correctas mas sem impressionar, estiveram <b>Kevin Short</b> (Cesare Angelotti), <b>Patrick Carfizzi </b>(Sacristão), <b>Rodell Rosel</b> (Spoletta), <b>Christopher Job</b> (Sciarrone) e <b>Paul Corona</b> (carcereiro). O pastor jovem foi <b>Davida Dayle</b>.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUHzFVs5fkXyfTYK102rbhAPWuahMHy-ulA5a_uFYKjQHKy8Eqce_IRpYYOU-bOPI-Z6sYmy5dgrKqVTmB6RJQ52ZzW0VhRMLvKQIm7PGaC5lhQo-D3u2KNWBzbiWhcshaR208VKj6pReB56ScJcaZYxIOV7ZWz0W2xH2UE-xjHDUqZ0QrPeZwcx9f/s635/Tutti1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="314" data-original-width="635" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUHzFVs5fkXyfTYK102rbhAPWuahMHy-ulA5a_uFYKjQHKy8Eqce_IRpYYOU-bOPI-Z6sYmy5dgrKqVTmB6RJQ52ZzW0VhRMLvKQIm7PGaC5lhQo-D3u2KNWBzbiWhcshaR208VKj6pReB56ScJcaZYxIOV7ZWz0W2xH2UE-xjHDUqZ0QrPeZwcx9f/w445-h220/Tutti1.jpg" width="445" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2k2VKhpyViWxvX3y-6Dn9r1QmEz5caiQkF_V-jMSfN-bW6zA8EN-wtuBZgxw4JEkvruxz7A2tGgiGiHGBkFQRUpU3Teu2rOrXrxeLypXwTKmQtnDTFTYM1Tm1z97Ap2oaQylemPQTWynkl-lIpFkI3Q_r9f_gAXuW0MxWZgEJRYXHovCdGetkSuqt/s629/tutti2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="354" data-original-width="629" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2k2VKhpyViWxvX3y-6Dn9r1QmEz5caiQkF_V-jMSfN-bW6zA8EN-wtuBZgxw4JEkvruxz7A2tGgiGiHGBkFQRUpU3Teu2rOrXrxeLypXwTKmQtnDTFTYM1Tm1z97Ap2oaQylemPQTWynkl-lIpFkI3Q_r9f_gAXuW0MxWZgEJRYXHovCdGetkSuqt/w425-h239/tutti2.jpg" width="425" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5MImIK2gKV_KE7CZkR1-xE7FyyY4jbj08cNXSbunKRiumkauY4kgpBVeP18710qZpFDqMYqE7TjnsrWnD_KMhcR9BVGAOhIX0Ai5qhBsVk6IVQTOROaJmtpf5dWba2xRofRNx9unrQNxOPAI9RZYU6CBHaxpZInnFwng_1drjW5ovRB5rcRt08ugt/s640/tutti3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5MImIK2gKV_KE7CZkR1-xE7FyyY4jbj08cNXSbunKRiumkauY4kgpBVeP18710qZpFDqMYqE7TjnsrWnD_KMhcR9BVGAOhIX0Ai5qhBsVk6IVQTOROaJmtpf5dWba2xRofRNx9unrQNxOPAI9RZYU6CBHaxpZInnFwng_1drjW5ovRB5rcRt08ugt/w425-h319/tutti3.jpg" width="425" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><span style="font-size: x-large;">***</span></p><p><span style="color: #2b00fe; font-size: large;">TOSCA, METROpolitan OPERA, New York, October / October 2022</span></p><p><b>G Puccini's Tosca </b>was revived at the <b>Metropolitan Opera </b>in New York, in the magnificent and sumptuous production of <b>David McVicar </b>who, after the short and very bad reception of the previous staging of this opera (by Luc Bondy, very ugly and a perfect example of the <i>eurotrash</i> that, in these geographic areas, is not appreciated at all) has shown to be able to make a classic approach with the same quality as the more modern ones he has signed.</p><p>Conductor <b>Carlo Rizzi </b>directed the Orchestra (which, surprisingly, was not without faults, especially in the metals). The Choir was excellent.</p><p>Soprano <b>Aleksandra Kurzak</b> was a magnificent Tosca, both on stage and vocal representation. She has a very beautiful voice, steady and unforced highs and we always hear her over the orchestra. She was by far the best of the night.</p><p>Tenor <b>Michael Fabiano</b> interpreted the role of Cavaradossi without great vocal brilliance. On stage he was fine, but the singing was sometimes irregular and has a somewhat harsh tone.</p><p>Baritone <b>George Gagnidze</b>'s Scarpia was greatly helped by the staging, but the singer was very static, somewhat monotonous, not very emotional and whenever the orchestra played louder, he stopped being heard.</p><p>In the supporting roles, with correct but unimpressive performances, were <b>Kevin Short </b>(Cesare Angelotti), <b>Patrick Carfizzi</b> (Sacristan), <b>Rodell Rosel</b> (Spoletta), <b>Christopher Job </b>(Sciarrone) and <b>Paul Corona</b> (gaoler). The young sheppard was <b>Davida Dayle</b>.</p><p><span style="font-size: x-large;">***</span></p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com0tag:blogger.com,1999:blog-6732274191821624755.post-68908319463296929542022-11-18T00:10:00.001+00:002022-11-18T00:10:55.714+00:00DON GIOVANNI O DISSOLUTO, Fundação Gulbenkian, Lisboa, Novembro 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVUT7sIGOi2y4h276iNL4IkwbMLDNK4LTcFy_01EBQ9ndorWOQZ06wv5HO-gNVW1t_gNtqmHsVdDTzZONcwTOWmXWEPNDOID_7BGqQkAgVikVUAux_KH7Ts3KIJWrAKK90Mxz9cEtWEoJ-YkiBGk9ZEhO82PrB9x_Fhho5WROtOylCbJJqIStxTLVg/s640/cartaz%20rua.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="417" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVUT7sIGOi2y4h276iNL4IkwbMLDNK4LTcFy_01EBQ9ndorWOQZ06wv5HO-gNVW1t_gNtqmHsVdDTzZONcwTOWmXWEPNDOID_7BGqQkAgVikVUAux_KH7Ts3KIJWrAKK90Mxz9cEtWEoJ-YkiBGk9ZEhO82PrB9x_Fhho5WROtOylCbJJqIStxTLVg/w313-h417/cartaz%20rua.jpg" width="313" /></a></div><p style="text-align: center;">(review in English below)</p><p>Na <b>Fundação Gulbenkian</b> foi apresentada uma obra que resulta da adaptação de um texto de <b>José Saramago</b> inspirado na ópera <b>Don Giovanni</b> de <b>Mozart</b>, em que este não seria condenado pelo seu comportamento e não morreria no final. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaakXeWnnU5VAk0QhPIwMT8fpBtagO9XT2_rMGfjiOIS3bPuBZS6wRn4J88McMBrYdGOp9aEHmMBV-m5rfwEPOmpScyESJb7fHym6D_hwQUhJl1bypDV4OTH3_Kyw0R-27r5IJTMBh3yJAvH4dyJy2lMeXTbnUNEz35oBS3TQOyaUsEJV-3fZB_dGB/s640/inicio.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="387" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaakXeWnnU5VAk0QhPIwMT8fpBtagO9XT2_rMGfjiOIS3bPuBZS6wRn4J88McMBrYdGOp9aEHmMBV-m5rfwEPOmpScyESJb7fHym6D_hwQUhJl1bypDV4OTH3_Kyw0R-27r5IJTMBh3yJAvH4dyJy2lMeXTbnUNEz35oBS3TQOyaUsEJV-3fZB_dGB/w290-h387/inicio.jpg" width="290" /></a></div><p>A encenação de<b> Jean Paul Bucchieri </b>foi interessante, com a orquestra um nível abaixo do palco, o cenário com cadeiras de ambos os lados, uma mesa ao centro e uma grande estátua do comendador, interpretado por um cantor e por um actor (Pedro Lacerda). Houve projecções de vídeo e presença de figurantes na parte mais recuada do palco, por vezes com bom efeito estético. O camarote lateral do auditório foi usado quer pelo coro, quer pelos solistas. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaTHn39mkA4ZVUQPLwihi9LPBSzIRG1KWZNC91dn9QpQiJ3QO_rtHIhqdjUyt-Hk6XUa4BNEmNWo8QunKzHMWF5rzJjJbYlQzMsyNbbU1KvqHaJTnTkD2gRZi9tVmfiHqA6Qz-VtGqZOUJZ7qO26F4oRLT6QZtX1RGpY1jJhqUQYTa56RoW0MPBvRB/s459/estatua.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="297" data-original-width="459" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaTHn39mkA4ZVUQPLwihi9LPBSzIRG1KWZNC91dn9QpQiJ3QO_rtHIhqdjUyt-Hk6XUa4BNEmNWo8QunKzHMWF5rzJjJbYlQzMsyNbbU1KvqHaJTnTkD2gRZi9tVmfiHqA6Qz-VtGqZOUJZ7qO26F4oRLT6QZtX1RGpY1jJhqUQYTa56RoW0MPBvRB/w380-h246/estatua.jpg" width="380" /></a></div><div style="text-align: center;">(estátua)</div><br /><p>Mas não gostei do espectáculo. Foram incluídos vários trechos da genial composição de Mozart (cantados em italiano, valha-nos isso) intercalados numa representação teatral desinteressante na forma e no conteúdo. Custa-me ver uma deturpação de uma das óperas mais sagradas do reportório operático mundial (sim, sou muito conservador neste aspecto) e, musicalmente, o espectáculo deixou muito a desejar.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjckuk_TcJfTpaB7YQX5VX6nE5cQ2C4zwjccNRx4GMxwObmr_Otxhy4Vo6bZfSVhjGU9cDTHAPbydG2ywFdvzl4TTNUUaNz9hwqf_RPcCA4XI5ZrVopax0RHLV4V1fypx7PkszkBv6lxWajnkX6UfR5E5eNxSAL7hDuiUTjum01DodpCKi-OwiBmtWz/s498/coro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="241" data-original-width="498" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjckuk_TcJfTpaB7YQX5VX6nE5cQ2C4zwjccNRx4GMxwObmr_Otxhy4Vo6bZfSVhjGU9cDTHAPbydG2ywFdvzl4TTNUUaNz9hwqf_RPcCA4XI5ZrVopax0RHLV4V1fypx7PkszkBv6lxWajnkX6UfR5E5eNxSAL7hDuiUTjum01DodpCKi-OwiBmtWz/w435-h210/coro.jpg" width="435" /></a></div><div style="text-align: center;">(coro)</div><br /><p>A concepção e direcção musical foi de<b> Nuno Coelho</b>. A curta interpretação do Coro masculino foi excelente, mas o mesmo não aconteceu com a Orquestra que, frequentemente, soou muito pouco “Mozartiana”.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkxU8WSvTufGsKE54B4WdCg0Tl6GIY3ouCy2ElRtYQ4UFmoBc7C9kuWuDf5VWdi85pPN8_q8Mc26fvmL-zuTA_6UMIVxStMiet1X1lBNZmIrBDY6oYDXd_8SxCKezfH9N1y_OtqUWh3o0y7I7cl7aHNThLhkK4ktqMx-fyC5ZxjrxjCOC5gp1ZY-G4/s578/orquestra.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="215" data-original-width="578" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkxU8WSvTufGsKE54B4WdCg0Tl6GIY3ouCy2ElRtYQ4UFmoBc7C9kuWuDf5VWdi85pPN8_q8Mc26fvmL-zuTA_6UMIVxStMiet1X1lBNZmIrBDY6oYDXd_8SxCKezfH9N1y_OtqUWh3o0y7I7cl7aHNThLhkK4ktqMx-fyC5ZxjrxjCOC5gp1ZY-G4/w425-h158/orquestra.jpg" width="425" /></a></div><p style="text-align: center;">(orquestra)</p><p>Os solistas foram de qualidade muito diversa. <b>André Baleiro </b>foi um Don Giovanni muito bom. Não me canso de elogiar este jovem barítono. As suas interpretações são sempre tecnicamente excelentes, a voz é magnífica e o timbre é de uma invulgar beleza. Estou convicto que terá uma notável carreira internacional nos grandes teatros de ópera.</p><p>O barítono <b>José Fardilha</b> foi um Leoporello de voz forte e bem audível, mas já sem o vigor e afinação do passado. O tenor <b>Marco Alves dos Santos</b> foi um Don Ottavio agradável, a voz é bonita e afinada. O baixo <b>Manuel Rebelo</b> foi um Masetto desinteressante e o Comendador cantado pelo baixo <b>Nuno Dias</b> mal se ouviu.</p><p>A Dona Anna da soprano <b>Sónia Grané</b> foi desagradável e frequentemente estridente. <b>Susana Gaspar</b> não esteve melhor e foi uma Dona Elvira de timbre agreste e interpretação vocal desinteressante. A Zerlina da soprano <b>Leonor Amaral</b> foi a melhor interpretação feminina. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Wfgp-YnxY_4IYQZU6XNqw9pby-3SNdB_b07JSGnEOtLlVQS4vzI_M4BTsSh7a8Ug_dPfj_2w-wzOblQvXGUg2ti-iqYV6TI8Pli5gFHZonNQwTxK8PYhzHSj0V-XNE6Wsr0k3oFbRA3PDawrWNFLQwaIVmUqDeIV2uF5hT5t26HufmWEdwa1e8zQ/s635/tutti1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="273" data-original-width="635" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Wfgp-YnxY_4IYQZU6XNqw9pby-3SNdB_b07JSGnEOtLlVQS4vzI_M4BTsSh7a8Ug_dPfj_2w-wzOblQvXGUg2ti-iqYV6TI8Pli5gFHZonNQwTxK8PYhzHSj0V-XNE6Wsr0k3oFbRA3PDawrWNFLQwaIVmUqDeIV2uF5hT5t26HufmWEdwa1e8zQ/w432-h186/tutti1.jpg" width="432" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnIjda3g456L5xzwA-kJnr9Jq73J88oXKdC7BSyWFu6s0nhgCORwMmqKuXhO-L-Ot4mU6-D6mIVqNKkDNOy3RxxyIvuNjxKGVeO-53pSguUZ6HB-EwiGDSQtC2yhv3zEDVfdUOTPsqrN115Do4iuc0BXoSqiIYlN_JhRAG6UZymQrpt05V1iK2kqyO/s632/tutti2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="363" data-original-width="632" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnIjda3g456L5xzwA-kJnr9Jq73J88oXKdC7BSyWFu6s0nhgCORwMmqKuXhO-L-Ot4mU6-D6mIVqNKkDNOy3RxxyIvuNjxKGVeO-53pSguUZ6HB-EwiGDSQtC2yhv3zEDVfdUOTPsqrN115Do4iuc0BXoSqiIYlN_JhRAG6UZymQrpt05V1iK2kqyO/w417-h240/tutti2.jpg" width="417" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3dQUtgSSqjsIXhFEYuqKVXiCWcylwFnZzCh0q4ryGn6mZee46oxoTL0KC7U3w81kJEUoi7Gr4S4eOmMNthd85jfk47cDrxqa6Ox0kk31-fc1k_oo-T_30x0vnM9vLVL31oEF5wUbzUCOIMyBbUE0R-lbF6whJXMJ0eKzP00sHTlYu6tsH1F_bBRwS/s629/tutti3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="305" data-original-width="629" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3dQUtgSSqjsIXhFEYuqKVXiCWcylwFnZzCh0q4ryGn6mZee46oxoTL0KC7U3w81kJEUoi7Gr4S4eOmMNthd85jfk47cDrxqa6Ox0kk31-fc1k_oo-T_30x0vnM9vLVL31oEF5wUbzUCOIMyBbUE0R-lbF6whJXMJ0eKzP00sHTlYu6tsH1F_bBRwS/w424-h205/tutti3.jpg" width="424" /></a></div><p>Um espectáculo a não rever.</p><p><span style="font-size: x-large;">**</span></p><p><br /></p><p><span style="color: #2b00fe; font-size: medium;">DON GIOVANNI IL DISSOLUTO, Gulbenkian Foundation, Lisbon, November 2022</span></p><p>At the Gulbenkian Foundation, a show was presented resulting from the adaptation of a text by José Saramago inspired by the opera <b>Don Giovanni</b> by <b>Mozart</b>, in which Don Giovanni would not be condemned for his behavior and would not die in the end.</p><p>The staging by <b>Jean Paul Bucchieri</b> was interesting, with the orchestra one level below the stage, the scenery with chairs on both sides, a table in the center and a large statue of the Commendatore, interpreted by a singer and an by an actor (Pedro Lacerda). There were video projections and the presence of extras at the back of the stage, sometimes with a good aesthetic effect. The side box of the auditorium was used by both the choir and the soloists.</p><p>But I didn't like the performance. Several excerpts from Mozart's brilliant composition were included (sung in Italian, fortunately) interspersed in a theatrical representation that was uninteresting in form and content. It pains me to see a misrepresentation of one of the most sacred operas in the world's operatic repertoire (yes, I'm very conservative in this regard) and, musically, the show left much to be desired.</p><p>The conception and musical direction was by <b>Nuno Coelho</b>. The short interpretation by the Male Choir was excellent, but the same was not true of the Orchestra, which often sounded very little “Mozartian”.</p><p>The soloists were of very diverse quality. <b>André Baleiro</b> was a very good Don Giovanni. I never tire of praising this young baritone. His interpretations are always technically excellent, his voice is magnificent and the timbre is unusually beautiful. I am convinced that he will have a remarkable international career in the great opera houses.</p><p>Baritone <b>José Fardilha</b> was a Leoporello with a strong and very audible voice, but without the vigor and tuning of the past. Tenor <b>Marco Alves dos Santos</b> was a pleasant Don Ottavio, his voice is beautiful and in tune. Bass <b>Manuel Rebelo</b> was an uninteresting Masetto and the Comendador sung by bass <b>Nuno Dias</b> was barely audible.</p><p>Dona Anna by soprano <b>Sónia Grané </b>was unpleasant and often shrill.<b> Susana Gaspar </b>was no better and was a Dona Elvira with a harsh timbre and uninteresting vocal interpretation. Zerlina by soprano <b>Leonor Amaral</b> was the best female interpretation.</p><p>A show not to be seen again.</p><p><span style="font-size: x-large;">**</span></p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com2tag:blogger.com,1999:blog-6732274191821624755.post-15091651241135289292022-11-12T21:41:00.000+00:002022-11-12T21:41:10.708+00:00 IDOMENEO, METropolitan OPERA, New York, Outubro / October 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3dK9I04wiA0lQalbEMD3xQMhHwttufihvIZyL9hCeMQLxQEEp0KlYTBVy2vHqvEspsm92k85pVVx_FPlUzFlJgTsMXgjPzY1GedclHGA1QpI93aLsJyf_pxSYfW4Vu1XOeyppwAjW5zTTENMD9XMzSpRPtrojDMWriVGQUml_NG_0ib-WRn0Wy9nu/s640/cartaz%20Idomeneo%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3dK9I04wiA0lQalbEMD3xQMhHwttufihvIZyL9hCeMQLxQEEp0KlYTBVy2vHqvEspsm92k85pVVx_FPlUzFlJgTsMXgjPzY1GedclHGA1QpI93aLsJyf_pxSYfW4Vu1XOeyppwAjW5zTTENMD9XMzSpRPtrojDMWriVGQUml_NG_0ib-WRn0Wy9nu/w306-h408/cartaz%20Idomeneo%202.jpg" width="306" /></a></div><p style="text-align: center;">(Review in English below)</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9pFmyfouCqsJQd4ef1xXwiLHMy2MESmaq2ZwHJssQd5ANfuXXzHB4s4m4yxGWBCmrcoOC2t8rbvk2tLwQKy0fyhUa_zPyUU9mHLB8pJ-3OO0h-gf3WvMjvh_RIrU2UI5Gg4I1uFcNpuBMjd4qDCvFLQBVFrM9HywL_6mSYHHN6F-Yb26SKeWWZl1e/s640/cartaz%20pequeno%20Idomeneo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="413" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9pFmyfouCqsJQd4ef1xXwiLHMy2MESmaq2ZwHJssQd5ANfuXXzHB4s4m4yxGWBCmrcoOC2t8rbvk2tLwQKy0fyhUa_zPyUU9mHLB8pJ-3OO0h-gf3WvMjvh_RIrU2UI5Gg4I1uFcNpuBMjd4qDCvFLQBVFrM9HywL_6mSYHHN6F-Yb26SKeWWZl1e/w310-h413/cartaz%20pequeno%20Idomeneo.jpg" width="310" /></a></div><p><b>Idomeneo</b> de <b>WA Mozart</b> esteve em cena na <b>Metropolitan Opera</b>. </p><p>Em Creta está presa a princesa troiana Ilia, apaixonada pelo príncipe Idamante, filho do rei Idomeneo, ausente há muitos anos e que é dado como morto, afogado. Elettra é também uma princesa apaixonada pelo príncipe. Idomemeo pede a Neptuno que o salve e promete em contrapartida um sacrifício humano da primeira pessoa que encontrar na praia. Essa pessoa é o seu filho Idamante. Para não o matar, manda-o partir para longe, com a princesa Elettra. Para castigar a traição de Idomeneo, Neptuno desencadeia uma tempestade sobre Creta, mesmo depois de o rei se oferecer para morrer. Quando o rei se prepara para sacrificar o filho, Ilia oferece-se no seu lugar. Neptuno ordena que Idomeneo abdique e nomeia como reis Idamante e Ilia. Elettra enlouquece e morre.</p><p>A encenação de <b>Jean-Pierre Ponnelle</b> é simples, convencional, mas muito eficaz. A figura do deus Neptuno está quase sempre presente, dando enquadramento ao desenrolar da acção.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqulqW_AtCeQa9EnAuGbLdYS8lEsqphirg4xnNOwBMmbByJX66J8US1OeDPHKy5dj3XmU0mmD31z6u6H0E6EbgCZ8mXJpk2uy1xjhOYVDOwj6Y1qZ-dpGJFxKrNYWM2lj4kaaAaxE6TB4s7rfPTHuw1SueomcAqufV2EsoKFQsPhhYGBmdhJSg7-w2/s640/cenario.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqulqW_AtCeQa9EnAuGbLdYS8lEsqphirg4xnNOwBMmbByJX66J8US1OeDPHKy5dj3XmU0mmD31z6u6H0E6EbgCZ8mXJpk2uy1xjhOYVDOwj6Y1qZ-dpGJFxKrNYWM2lj4kaaAaxE6TB4s7rfPTHuw1SueomcAqufV2EsoKFQsPhhYGBmdhJSg7-w2/w369-h277/cenario.jpg" width="369" /></a></div><br /><p>A excelente direcção musical foi de <b>Manfred Honeck</b> e a Orquestra e Coro estiveram ao mais alto nível.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmMUPKmcBzIEk-tU8tQ7oRJR7L2wSdrjMl-YRe_pR7JU3sNn2p59hxQMnXNSpTYS8EYXLfgnJL5SR1BV0rSaaO7hVPw2qxHEqvuWZzGkZ1_T8YTfR0F_KD3mHreg-E_FOIXykuCbhqUWhju1xYja975gNhty2L49ABO7N25Vgd0tYJAaEqgsorUuy6/s276/maestro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="276" data-original-width="260" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmMUPKmcBzIEk-tU8tQ7oRJR7L2wSdrjMl-YRe_pR7JU3sNn2p59hxQMnXNSpTYS8EYXLfgnJL5SR1BV0rSaaO7hVPw2qxHEqvuWZzGkZ1_T8YTfR0F_KD3mHreg-E_FOIXykuCbhqUWhju1xYja975gNhty2L49ABO7N25Vgd0tYJAaEqgsorUuy6/s1600/maestro.jpg" width="260" /></a></div><p>E os cantores foram todos excelentes. A soprano <b>Ying Fang</b> foi uma Ilia excepcional. Voz de timbre muito bonito, poderosa, sempre afinada e com pianíssimos fantásticos.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2KZF2cYYCPb4-BL4ZX21HTqNZw9IYepwYfkpwsg7OkI1l0I6jTVjvzDFH2zJpM2fbxca0umxvkipAti8WsNOwSrziwwal3JUJNPkOVkzyKR2gF3e8MQSoL3Hc2NPiuni4DpRTQ3NbjRXPr02dqcZOQm0e-uUhKLQXM_gZMZME6bvWvD4n3qOOd92k/s295/Ilia.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="295" data-original-width="217" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2KZF2cYYCPb4-BL4ZX21HTqNZw9IYepwYfkpwsg7OkI1l0I6jTVjvzDFH2zJpM2fbxca0umxvkipAti8WsNOwSrziwwal3JUJNPkOVkzyKR2gF3e8MQSoL3Hc2NPiuni4DpRTQ3NbjRXPr02dqcZOQm0e-uUhKLQXM_gZMZME6bvWvD4n3qOOd92k/s1600/Ilia.jpg" width="217" /></a></div><br /><p>A mezzo <b>Kate Lindsey</b> no papel masculino de Idamante teve uma excelente interpretação cénica e vocal, bem audível, muito expressiva e emotiva.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTZE2BUYWfdKbpvwu6mwlMe2JfFk6WRBQJSrukVCvNSulAuwElY-4Jg2UMnEFbfX5HbdwgxfxIKOPSEn12_3e3M30YetP8QqeIoplcQPaCzH1F-FeJudBci_8NkDaheaWlhe7eAnqkAsn8Qb7nnL1HbbujJzdGLCZzWGkseNXNeE4tHza6E468xHVr/s321/Idamante.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="321" data-original-width="278" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTZE2BUYWfdKbpvwu6mwlMe2JfFk6WRBQJSrukVCvNSulAuwElY-4Jg2UMnEFbfX5HbdwgxfxIKOPSEn12_3e3M30YetP8QqeIoplcQPaCzH1F-FeJudBci_8NkDaheaWlhe7eAnqkAsn8Qb7nnL1HbbujJzdGLCZzWGkseNXNeE4tHza6E468xHVr/s320/Idamante.jpg" width="277" /></a></div><p>A soprano <b>Federica Lombardi</b> foi uma Elettra de referencia e, na aria final “D’Oreste , d’Ajace”, uma das primeiras cenas de loucura na ópera, foi insuperável.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUZDGxwb-w5TNM27sMoTsrHIVDiOmqCL8WA7f4idhVx4oPJJ5qqv0esv763en-jqgtHtAdXXi11SRRse08GHczjUdJZQS91UVx1Vlo7s8nehTtq1QYozEuJ_fLqwdXLfNXLxiYbfVvI7gkNqOudQrEf-AEy8LCqlMaUtfC-YDNMFy-MMWiqO5YAGAk/s337/Elettra.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="337" data-original-width="270" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUZDGxwb-w5TNM27sMoTsrHIVDiOmqCL8WA7f4idhVx4oPJJ5qqv0esv763en-jqgtHtAdXXi11SRRse08GHczjUdJZQS91UVx1Vlo7s8nehTtq1QYozEuJ_fLqwdXLfNXLxiYbfVvI7gkNqOudQrEf-AEy8LCqlMaUtfC-YDNMFy-MMWiqO5YAGAk/s320/Elettra.jpg" width="256" /></a></div><br /><p>O Idomeneo do tenor <b>Michael Spyres</b> foi outro intérprete superlativo, com voz poderosa, afinada e transbordando emoção.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYbtHqA0Rl3ojNVqOWB3L4npHS1TNs4rScSVbCvxOhieaGSUX2Ufq-V4_v8S9uAs8DFmXcVZs9b-xotxHdc28QH03Uc_Ep7ewNOXRLAj96_cb5vvEpg3_TvnUvbW3TMUmvfQXUugrI3GP2Gz___3AP-cP9i_YSg_V7gdnVkE_UW1wzfQWtglLQjnew/s279/Idomeneo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="279" data-original-width="240" height="279" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYbtHqA0Rl3ojNVqOWB3L4npHS1TNs4rScSVbCvxOhieaGSUX2Ufq-V4_v8S9uAs8DFmXcVZs9b-xotxHdc28QH03Uc_Ep7ewNOXRLAj96_cb5vvEpg3_TvnUvbW3TMUmvfQXUugrI3GP2Gz___3AP-cP9i_YSg_V7gdnVkE_UW1wzfQWtglLQjnew/s1600/Idomeneo.jpg" width="240" /></a></div><br /><p>O tenor <b>Paolo Fanale</b> fez um Arabace correcto e o tenor <b>Issachah Savage</b> também impressionou como Grande Sacerdote.</p><p>Um espectáculo de invulgar qualidade.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCqPZIzSavkxC9_XegyZOlHoGS5TJReXso-qQ_YSDgLwWCeo6ZjV8sdsiSfnThdgTQwq79RXex9LBMfQsRHftZPP2O8zxdOqvqgJQMnLB3PtGmvp9b2tssxi6vmSviOp5h5Tmm4u_j7MGCkfgGkybF0B4MVhsIVyscasCkkwycblw_AnvdSfV0uzTY/s640/tutti1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCqPZIzSavkxC9_XegyZOlHoGS5TJReXso-qQ_YSDgLwWCeo6ZjV8sdsiSfnThdgTQwq79RXex9LBMfQsRHftZPP2O8zxdOqvqgJQMnLB3PtGmvp9b2tssxi6vmSviOp5h5Tmm4u_j7MGCkfgGkybF0B4MVhsIVyscasCkkwycblw_AnvdSfV0uzTY/w385-h289/tutti1.jpg" width="385" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiboyi9uUuqOHRAi2pfjuUYKwHH6VBuaFDPSmpRioUcAD6QkgYSZP-wUtRvU8IscORhbBYarGjPOtGQdnRuSXSOTIOKfH2e1gMS8AleuicVfU2YLGVWl21roLTGhVqTlm-ClpFuWrx6zcQEadLRbV6DKmLs59cl1377_5z924zPcXRJ28ZjhBWlzLl/s640/tutti2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiboyi9uUuqOHRAi2pfjuUYKwHH6VBuaFDPSmpRioUcAD6QkgYSZP-wUtRvU8IscORhbBYarGjPOtGQdnRuSXSOTIOKfH2e1gMS8AleuicVfU2YLGVWl21roLTGhVqTlm-ClpFuWrx6zcQEadLRbV6DKmLs59cl1377_5z924zPcXRJ28ZjhBWlzLl/w382-h287/tutti2.jpg" width="382" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieejNRSdIWpbsl5XSYSJVijBAH217RKfgzAwFMtEo4uDDeSFQ5Pm_cj_7oy90RjNUipoe0r4ZcmdbWdYzoV8eIzZ865LjxOC_1dTPu7c8fVbxPcGWPxB6xvfWJcTvuJV6o97an0RK_m0ZMgE5XJnDy6VVh1FHgydmvVGiuwXCAVJcMP8lhutLBKDBX/s640/tutti3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieejNRSdIWpbsl5XSYSJVijBAH217RKfgzAwFMtEo4uDDeSFQ5Pm_cj_7oy90RjNUipoe0r4ZcmdbWdYzoV8eIzZ865LjxOC_1dTPu7c8fVbxPcGWPxB6xvfWJcTvuJV6o97an0RK_m0ZMgE5XJnDy6VVh1FHgydmvVGiuwXCAVJcMP8lhutLBKDBX/w394-h296/tutti3.jpg" width="394" /></a></div><br /><p><span style="font-size: xx-large;">***** </span></p><div><br /></div><div><div><span style="color: #2b00fe; font-size: large;">IDOMENEO, METropolitan OPERA, New York, October 2022</span></div><div><br /></div><div><b>Idomeneo </b>by <b>WA Mozart</b> was on stage at the <b>Metropolitan Opera</b>.</div><div>In Crete, the Trojan princess Ilia is imprisoned, in love with Prince Idamante, son of King Idomeneo, who has been absent for many years and is presumed dead, drowned. Elettra is also a princess in love with the prince. Idomemeo asks Neptune to save him and promises in return a human sacrifice from the first person he finds on the beach. That person is his son Idamante. In order not to kill him, he sends him away, with Princess Elettra. To punish Idomeneo's betrayal, Neptune unleashes a storm over Crete, even after the king offers to die. As the king prepares to sacrifice heis son, Ilia offers herself in his place. Neptune orders Idomeneo to abdicate and names Idamante and Ilia as kings. Elettra goes mad and dies.</div><div><br /></div><div><b>Jean-Pierre Ponnelle</b>'s staging is simple, conventional, but very effective. The figure of the god Neptune is almost always present, framing the unfolding of the action.</div><div><br /></div><div>The excellent musical direction was by <b>Manfred Honeck</b> and the Orchestra and Choir were at the highest level.</div><div><br /></div><div>And the singers were all excellent. Soprano <b>Ying Fang</b> was an exceptional Ilia. Very beautiful, powerful voice, always in tune and with fantastic pianissimi.</div><div><br /></div><div>Mezzo K<b>ate Lindsey</b> in the male role of Idamante had an excellent scenic and vocal performances, well audible, very expressive and emotional.</div><div><br /></div><div>Soprano <b>Federica Lombardi </b>was an Elettra of reference and, in the final aria “D’Oreste, d’Ajace”, one of the first mad scenes in opera, was unsurpassed.</div><div><br /></div><div>Tenor <b>Michael Spyres</b>' Idomeneo was another superlative performer, with a powerful, tuned voice overflowing with emotion.</div><div><br /></div><div>Tenor <b>Paolo Fanale</b> was a correct Arabace and tenor <b>Issachah Savage</b> also impressed as a High Priest.</div><div><br /></div><div>A performance of unusual quality.</div><div><br /></div><div><span style="font-size: x-large;">*****</span></div></div>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com5tag:blogger.com,1999:blog-6732274191821624755.post-22632297065256591452022-11-07T22:01:00.000+00:002022-11-07T22:01:52.959+00:00 SALOME, Royal Opera House, Londres, Setembro / September 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbxzvwg2GDd4NnFud9-lWM3sZfKUm8k6GFn9bkGJnH9eaOOHjWrJHxXQLi9VVbnrHacmaKZ_IR-O3c-OZUdTGqsTkdfwOsVo2Z3nQmOxug_2E97R8JLAQAFWGgeG7YgA90bBNo4u7LEjW-8gP3PLHlZWOB0lb4e2GkpfO20WbVVSmYwfBHfwi7gVGf/s574/programa%20sala.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="574" data-original-width="421" height="479" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbxzvwg2GDd4NnFud9-lWM3sZfKUm8k6GFn9bkGJnH9eaOOHjWrJHxXQLi9VVbnrHacmaKZ_IR-O3c-OZUdTGqsTkdfwOsVo2Z3nQmOxug_2E97R8JLAQAFWGgeG7YgA90bBNo4u7LEjW-8gP3PLHlZWOB0lb4e2GkpfO20WbVVSmYwfBHfwi7gVGf/w352-h479/programa%20sala.jpg" width="352" /></a></div><p style="text-align: center;">(review in English below)</p><p>Voltei a ter a oportunidade de rever na <b>Royal Opera House </b>a <b>Salome</b> de <b>Richard Strauss</b> na produção marcante de <b>David McVicar</b>. A encenação é violenta e chocante mas nesta reposição as cenas de nudez foram retiradas, aparecendo despido apenas o carrasco, no final da ópera.</p><p>Como referi em texto anterior, a acção é transportada para o Séc. XX e decorre no palácio de Herodes. No primeiro andar vê-se (mal) um jantar elegante, à luz de velas. O cenário principal é a cave imunda do palácio, umas casas de banho com paredes com azulejos brancos muito sujos, a condizer com tudo o resto. O profeta João Baptista (Jokanaan) está preso numa cisterna, donde é retirado por algum tempo, a pedido da Salomé. Com o decorrer da acção, todos descem para a cave.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWKFMGxcdatBpufHk9KLhJcpi0SCUVVUUc2sBOXPCv8DSx0v5kFe5yLqRl0pedXri3Pyfw1aQcrDay8eyiNevWY4gOtJcX65caBHM-jBzF5-sBxI5N7m_8sx2gwbTxr05N-xwImy1qsISoVgWUBB8SNFyzwYveG4iLNDbDD5zQTGjbhvFCMi5trOxs/s640/cena%CC%81rio.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWKFMGxcdatBpufHk9KLhJcpi0SCUVVUUc2sBOXPCv8DSx0v5kFe5yLqRl0pedXri3Pyfw1aQcrDay8eyiNevWY4gOtJcX65caBHM-jBzF5-sBxI5N7m_8sx2gwbTxr05N-xwImy1qsISoVgWUBB8SNFyzwYveG4iLNDbDD5zQTGjbhvFCMi5trOxs/w406-h305/cena%CC%81rio.jpg" width="406" /></a></div><p>As doentias cenas de assédio da Salomé sobre Jokanaan e de Herodes sobre Salomé são explícitas. Na dança dos sete véus o palco transforma-se radicalmente, aparecendo sucessivamente sete portas em movimento, entre as quais e com a ajuda de curtos filmes, Salomé recorda sete episódios traumáticos passados entre ela e o padrasto (Herodes), terminando com a concretização da relação sexual. A cena final de necrofilia em que a Salomé acaricia e beija a cabeça do Jokanaan totalmente ensanguentada (trazida a escorrer sangue pelo carrasco nu) é ainda mais impressionante. Uma encenação bem conseguida e chocante.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIhfU8sty55QV-_r9pY0Wg37En4lusTwoPLCq1Mfxr_L3kX6GslnqN8d329S8GS1zQRSrQuj-SUVKu3IzGkAHNUSaAkrM9MHQslrwEUSeUmj4wa3d6rF8pWeWfEkCt1_mH7434UcVWIMZ5n87Ci4BAtJ4TfWDsRBqwI_nS66_jju-DwnpOrL_5L1Pd/s630/cena%CC%81rio%20total.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="472" data-original-width="630" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIhfU8sty55QV-_r9pY0Wg37En4lusTwoPLCq1Mfxr_L3kX6GslnqN8d329S8GS1zQRSrQuj-SUVKu3IzGkAHNUSaAkrM9MHQslrwEUSeUmj4wa3d6rF8pWeWfEkCt1_mH7434UcVWIMZ5n87Ci4BAtJ4TfWDsRBqwI_nS66_jju-DwnpOrL_5L1Pd/w407-h306/cena%CC%81rio%20total.png" width="407" /></a></div><br /><p>A música de Strauss é poderosa. A sonoridade é grandiosa e rica, o cromatismo sonoro impressionante, há utilização de <i>leitmotive</i> e alternância de consonância com dissonância. A orquestra é a parte maior desta obra. Sob a direcção do maestro <b>Alexander Soddi</b>, a <b>orquestra da Royal Opera House</b>, esteve ao seu melhor nível e proporcionou-nos uma interpretação superior, viva e dramática, dando-nos toda a sumptuosidade tímbrica que faz justiça à música de Strauss. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxM1elCRQ1WBwiOisyz_Sw-UmfACcU_aIUUWeK0pfqJoMiftwJRdbVQy2038kiDR7f4av_WhURRjM_JscoLguyQsKH3KOtWAA0Y3tx9dcle3HP5ng0z4ZPFkcmX_ROA6WpRLYe6ZJoUBALn-UaMloxZsF2bP31PcIGslJF7NzYp7gPy1hQ2YvtPliA/s640/maestro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxM1elCRQ1WBwiOisyz_Sw-UmfACcU_aIUUWeK0pfqJoMiftwJRdbVQy2038kiDR7f4av_WhURRjM_JscoLguyQsKH3KOtWAA0Y3tx9dcle3HP5ng0z4ZPFkcmX_ROA6WpRLYe6ZJoUBALn-UaMloxZsF2bP31PcIGslJF7NzYp7gPy1hQ2YvtPliA/w417-h313/maestro.jpg" width="417" /></a></div><br /><p>Os cantores solistas foram todos de topo. A soprano <b>Malin Byström</b> foi uma Salomé de timbre suave e muito bonito, mantendo elevada qualidade vocal ao longo de toda a récita, sempre sobre a orquestra e com um final avassalador. A cantora é magra, alta e aparenta a juventude que a personagem exige, o que ajudou muito a sua óptima interpretação cénica.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF1lesDIqcWY5abgu3M5vqXZO1H1T_NX4wncBJyV6qLiB9MSHO4iaWGrkxC6GUdwP9qA7HK_bxtxLPDVxOImNm0tZsHgB6CcUNyr7j8ftNQo35porujiSIYuNA3viGpPPMp5HOvcetLdOBQejnkc_9lSgu_5fY__R3bs1Cm_7IB0u8L_LKmsW8yGtV/s381/Salome1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="381" data-original-width="329" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF1lesDIqcWY5abgu3M5vqXZO1H1T_NX4wncBJyV6qLiB9MSHO4iaWGrkxC6GUdwP9qA7HK_bxtxLPDVxOImNm0tZsHgB6CcUNyr7j8ftNQo35porujiSIYuNA3viGpPPMp5HOvcetLdOBQejnkc_9lSgu_5fY__R3bs1Cm_7IB0u8L_LKmsW8yGtV/w397-h460/Salome1.jpg" width="397" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0xqrnGHIZsgSJiM0_L7O-xupH5b9U0j5KMM6fw9CaHPzZ8BTKyvI-NhkCxCicA2jVLAp8ih1nyA7iKdr1olOgTWhUXDVu7v4y1VetQmPsD4OSyXtUVcu8eZBwr51lCNW-0XgJIqq2XhNHIRNNNw0iYaMKOTQG-jgSwq2f3yaPrLWRrQUVw9eiyhxE/s351/Salome2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="351" data-original-width="258" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0xqrnGHIZsgSJiM0_L7O-xupH5b9U0j5KMM6fw9CaHPzZ8BTKyvI-NhkCxCicA2jVLAp8ih1nyA7iKdr1olOgTWhUXDVu7v4y1VetQmPsD4OSyXtUVcu8eZBwr51lCNW-0XgJIqq2XhNHIRNNNw0iYaMKOTQG-jgSwq2f3yaPrLWRrQUVw9eiyhxE/w367-h500/Salome2.jpg" width="367" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>O barítono <b>Jordan Shanahan</b> foi um Jokanaan óptimo, de voz marcante e poderosa, com um desempenho cénico perfeito.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8Dd3DQ5_w6KPILJbO8jxoTlCYs-CzeHb_wfx-TUxdarykcjdojaUmBOqrhcZzZdOf5fj_SU6SFwCpMZW9U6loWLxvCuOi-o5A20Y9MWn87x5Hbd6O26GWwRplB415WnjOqQekiUxVSNMwG78fxcae1q9XGVvRSRZafBVM07bD8ORV3X7Nue2TBp5q/s378/Jokanhaan.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="378" data-original-width="202" height="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8Dd3DQ5_w6KPILJbO8jxoTlCYs-CzeHb_wfx-TUxdarykcjdojaUmBOqrhcZzZdOf5fj_SU6SFwCpMZW9U6loWLxvCuOi-o5A20Y9MWn87x5Hbd6O26GWwRplB415WnjOqQekiUxVSNMwG78fxcae1q9XGVvRSRZafBVM07bD8ORV3X7Nue2TBp5q/w294-h550/Jokanhaan.jpg" width="294" /></a></div><br /><p>Herodes foi interpretado pelo tenor <b>John Daszak </b>que esteve num nível superior. Foi sempre bem audível, o timbre é adequado à personagem e esteve sempre bem na componente cénica.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRgbQMQ-EJ-LGV9j-82U7nQ3TGhqjka-eLIxKMmftGoug7XFD5JKqCV7EUsY9-uZXlhwk1p6QjWgNP45GnP7P7kM1S4yVgGs-MRr7wGRto7CIBNO1qlKMFDdcPWzMNnQ-Jry81zzvEo4AjRN1Be4SD10X1RiumYAhooy7pMHzQcX4eYrj6IWMK8qmh/s395/Herodes.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="395" data-original-width="189" height="601" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRgbQMQ-EJ-LGV9j-82U7nQ3TGhqjka-eLIxKMmftGoug7XFD5JKqCV7EUsY9-uZXlhwk1p6QjWgNP45GnP7P7kM1S4yVgGs-MRr7wGRto7CIBNO1qlKMFDdcPWzMNnQ-Jry81zzvEo4AjRN1Be4SD10X1RiumYAhooy7pMHzQcX4eYrj6IWMK8qmh/w287-h601/Herodes.jpg" width="287" /></a></div><br /><p>A mezzo <b>Katarina Dalayman</b> foi muito convincente no encorajamento da filha a pedir a cabeça do João Baptista e, no canto, foi óptima.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ61E0PWJACPxDeHnV4U6l0SqSPYaF7YsmlGCGBEHqd7R3Ohs3josNu10wnEAkn97MkmUiJyfvmsGMNLuRFZxyDl2Tl6e1QkkXR36qbOffAAbhjlx_JAYDDzjn4qCkmD-wtqlCozkCDbT2DFVSmipxWG639Kj8tuaH-gGQB0xzbsNq37TP8EMDs0f1/s370/Herodias.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="370" data-original-width="200" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ61E0PWJACPxDeHnV4U6l0SqSPYaF7YsmlGCGBEHqd7R3Ohs3josNu10wnEAkn97MkmUiJyfvmsGMNLuRFZxyDl2Tl6e1QkkXR36qbOffAAbhjlx_JAYDDzjn4qCkmD-wtqlCozkCDbT2DFVSmipxWG639Kj8tuaH-gGQB0xzbsNq37TP8EMDs0f1/w266-h492/Herodias.jpg" width="266" /></a></div><p>O Narraboth do tenor <b>Thomas Atkins </b>teve uma interpretação muito emotiva e até comovente, tanto na excelente componente vocal como na interpretação cénica.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp4GHVlzJ-7g9Xnh8Hl1LybjfQuQfDswnf9tjPlyJaQtw5cKDXCK33z6XCWz33JTIkRa3Q1haMRsRTFW4Zg7Udauq4VHAT4MOaNHi1xEXcGFipmqcwvO01LytaUihOB-MKXKtccR8Csn0WjQaKxgbsNYt747SLBUc9Ry7XRysNL_eobJriWQ_yZ93l/s359/Narraboth.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="359" data-original-width="161" height="467" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp4GHVlzJ-7g9Xnh8Hl1LybjfQuQfDswnf9tjPlyJaQtw5cKDXCK33z6XCWz33JTIkRa3Q1haMRsRTFW4Zg7Udauq4VHAT4MOaNHi1xEXcGFipmqcwvO01LytaUihOB-MKXKtccR8Csn0WjQaKxgbsNYt747SLBUc9Ry7XRysNL_eobJriWQ_yZ93l/w210-h467/Narraboth.jpg" width="210" /></a></div><br /><p>Os muitos cantores secundários, apesar de terem interpretações curtas, estiveram ao nível deste excelente espectáculo de ópera.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNrwSaP3qGn5wQS53F0wDKsxKOtTzJmmqRM4IqxnqWU3UowqGw4KRiSNYq_gB-hpkqDRPxpI3gboq2jDWjDTj7aFwuFttDA3o-6chsD6jUMaqKa7cnyiXiKVHHZl-zUd4ZUhxHxumsTVkzSUepm6XWE4UcK346pHLOghRWkqc885-ra0ZwIzdRK7zX/s640/tutti%20c:%20orquestra.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNrwSaP3qGn5wQS53F0wDKsxKOtTzJmmqRM4IqxnqWU3UowqGw4KRiSNYq_gB-hpkqDRPxpI3gboq2jDWjDTj7aFwuFttDA3o-6chsD6jUMaqKa7cnyiXiKVHHZl-zUd4ZUhxHxumsTVkzSUepm6XWE4UcK346pHLOghRWkqc885-ra0ZwIzdRK7zX/w426-h320/tutti%20c:%20orquestra.jpg" width="426" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9tEKfvGC5wTyOQ3u5cJfdaepcW4i5tMV-WyhulaS7k7KOccA6JkTAdl4CGZ8iJeU8aN8Y2AuVK1ulFz9GyLgfyWgCqkBrO-fu6s_7J4lwtYFIRC55GQ2RPDexkEYK8zgqqmlJpaN7FH-Go0sainA8TDBVUuhFLm5M3ZeDwIBnjgt44dzcKgn1_tZZ/s640/tutti1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9tEKfvGC5wTyOQ3u5cJfdaepcW4i5tMV-WyhulaS7k7KOccA6JkTAdl4CGZ8iJeU8aN8Y2AuVK1ulFz9GyLgfyWgCqkBrO-fu6s_7J4lwtYFIRC55GQ2RPDexkEYK8zgqqmlJpaN7FH-Go0sainA8TDBVUuhFLm5M3ZeDwIBnjgt44dzcKgn1_tZZ/w432-h324/tutti1.jpg" width="432" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5znj12snEfXS4_UIxsq9BfUoJF_4aTsh9VRXnhcgh6yCDnbKs0Pb4pQS94J8wpwULGlvttkIB5e9nnjozZSLgln8aZeCQSHNKxcyjBHsEDXgU25ZOtS4GyV3R1BJOgvkRxbrZ5biPYlpgpAanQiBJPMuz_YVacq4anhPSFsm5Y5Kau9TE-dVhIxdh/s640/tutti2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="329" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5znj12snEfXS4_UIxsq9BfUoJF_4aTsh9VRXnhcgh6yCDnbKs0Pb4pQS94J8wpwULGlvttkIB5e9nnjozZSLgln8aZeCQSHNKxcyjBHsEDXgU25ZOtS4GyV3R1BJOgvkRxbrZ5biPYlpgpAanQiBJPMuz_YVacq4anhPSFsm5Y5Kau9TE-dVhIxdh/w439-h329/tutti2.jpg" width="439" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXj09VnI2WAKhvgB5U6yzlG-OQc7acTrTpLHh7_FRUnGk2-JtryomrSJR_siLKRwVmvcZg3NZo8xp2WxG6cOnq4xpT_J1Ks_usxPTt6RyOU_q6M2SatftTGrNQPqvc0mTGZqVOp-r1n0STrsNhqhoC4ynEMM_DXfeAOtViXHJdiHdpTEwTGzn0Wo46/s640/tutti4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXj09VnI2WAKhvgB5U6yzlG-OQc7acTrTpLHh7_FRUnGk2-JtryomrSJR_siLKRwVmvcZg3NZo8xp2WxG6cOnq4xpT_J1Ks_usxPTt6RyOU_q6M2SatftTGrNQPqvc0mTGZqVOp-r1n0STrsNhqhoC4ynEMM_DXfeAOtViXHJdiHdpTEwTGzn0Wo46/w450-h338/tutti4.jpg" width="450" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSnPPBYmJKjNiGJK2twdrgsN3uMn50yJDPLUbB-V8e3FEPk9qHmoOTKTCvT4mM5zKXLWfBXaR7tzAp9SAM134sRMGassIfNGI9-bbJCcMY0sjHiia3Bu7KYu5TlXgeSOeQ8g9CEwZyJ581__laXzSchuUL6tbMHCjzQsfVC68szgWtBTLcNLHKPHI/s640/tutti5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSnPPBYmJKjNiGJK2twdrgsN3uMn50yJDPLUbB-V8e3FEPk9qHmoOTKTCvT4mM5zKXLWfBXaR7tzAp9SAM134sRMGassIfNGI9-bbJCcMY0sjHiia3Bu7KYu5TlXgeSOeQ8g9CEwZyJ581__laXzSchuUL6tbMHCjzQsfVC68szgWtBTLcNLHKPHI/w430-h322/tutti5.jpg" width="430" /></a></div><p><br /></p><p><span style="font-size: x-large;">*****</span></p><p><br /></p><p><span style="color: #2b00fe; font-size: large;">SALOME, Royal Opera House, London, September / September 2022</span></p><p>I once again had the opportunity to see<b> Salome</b> by <b>Richard Strauss</b> in the remarkable production of <b>David McVicar</b> at the <b>Royal Opera House.</b> The staging is violent and shocking, but in this performance the nude scenes were removed, leaving only the executioner naked at the end of the opera.</p><p>As I mentioned in a previous text, the action is transported to the XXth century and takes place in Herod's palace. On the first floor you can see (barely) an elegant dinner, by candlelight. The main setting is the filthy basement of the palace, some bathrooms with walls with very dirty white tiles, in keeping with everything else. The prophet John the Baptist (Jokanaan) is imprisoned in a cistern, from which he is removed for some time, at the request of Salome. As the action progresses, everyone descends to the basement.</p><p>The sickening scenes of Salome's harassment of Jokanaan and Herod of Salome are explicit. In the dance of the seven veils, the stage is radically transformed, with seven moving doors appearing successively, between which and with the help of short films, Salomé recalls seven traumatic episodes between her and her stepfather (Herodes), ending with their sexual relationship. The final necrophilia scene in which Salomé caresses and kisses the bloodied Jokanaan's head (brought out by the naked executioner) is even more impressive. A well done and shocking staging.</p><p>Strauss' music is powerful. The sound is grandiose and rich, the sound chromaticism is impressive, there are leitmotive and alternation of consonance with dissonance. The orchestra is the biggest part of this work. Under the direction of conductor <b>Alexander Soddi</b>, the was at its best and provided us with a superior, lively and dramatic interpretation, giving us all the timbral sumptuousness that does justice to Strauss' music.</p><p>The soloist singers were all of top quality. Soprano <b>Malin Byström </b>was a Salome with a smooth and very beautiful timbre, maintaining high vocal quality throughout the performance, always over the orchestra and with an overwhelming ending. The singer is thin, tall and seems to have the youth that the character demands, which helped a lot in her great scenic performance.</p><p>Baritone <b>Jordan Shanahan </b>was a great Jokanaan, with a strong and powerful voice, with a perfect scenic performance.</p><p>Herod was interpreted by tenor <b>John Daszak</b> who was at a higher level. He was always very audible, the timbre is suited to the character and he was always good in the scenic component.</p><p>Mezzo <b>Katarina Dalayman</b> was very convincing in encouraging her daughter to ask for the head of João Baptista and, in the corner, she was great.</p><p>The Narraboth of tenor <b>Thomas Atkins</b> had a very emotional and even moving interpretation, both in the excellent vocal component and in the scenic interpretation.</p><p>The many support singers, despite having short interpretations, were at the level of this excellent opera show.</p><p><span style="font-size: x-large;">*****</span></p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com0tag:blogger.com,1999:blog-6732274191821624755.post-47464150024378435572022-11-04T00:08:00.003+00:002022-11-04T22:10:30.090+00:00 EIN DEUTSCHES REQUIEM, Fundação Gulbenkian, Lisboa, Novembro 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD47zD9EZelh7JSnAyLwQpn7jSfsOSOjQM2aUCSHxOzyeQdnjEMANW8908XiYtPd2bttiIokTc86x96UL9ByAOJULTP0xt31KQRJVqcbtPw33v27K4iwgTmKUSoWcgVXhAp9NOLPHVGDfgWK5J1dJPciDj-PVUR68gVM3RukGwZ8LoHIPQJ2jSV05x/s560/cartaz%20rua.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="560" data-original-width="455" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD47zD9EZelh7JSnAyLwQpn7jSfsOSOjQM2aUCSHxOzyeQdnjEMANW8908XiYtPd2bttiIokTc86x96UL9ByAOJULTP0xt31KQRJVqcbtPw33v27K4iwgTmKUSoWcgVXhAp9NOLPHVGDfgWK5J1dJPciDj-PVUR68gVM3RukGwZ8LoHIPQJ2jSV05x/w356-h438/cartaz%20rua.jpg" width="356" /></a></div><p style="text-align: center;">(review in English below)</p><p>A <b>Fundação Gulbenkian</b> ofereceu-nos a magnífica obra <b>Um Requiem Alemão</b> de <b>Johannes Brahms</b>, uma das peças sinfónicas corais que mais aprecio. E foi um excelente presente, dada a qualidade do espectáculo. Toda a peça é marcante mas, para mim, os 2º e 6º andamentos, pela sua monumentalidade instrumental e coral, são os mais impressionantes.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLIN8zqBExFuLEiRK3eAD8DFtILhvbKD9L7Jc2o-qPf7RJI4bRInNMt9nPfDJgHxuw85I2SGVYJo3pH-LrEjO7RIhx3QytfZqxvXnlD_rN_T61Cjp4QdinKze5hjoRpH76jEcS6UIzb2CcSI4T9iuO70yG5S__8jj3hTzJ6UbSZ2c0da80lXhVVjMP/s640/palco%20antes.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLIN8zqBExFuLEiRK3eAD8DFtILhvbKD9L7Jc2o-qPf7RJI4bRInNMt9nPfDJgHxuw85I2SGVYJo3pH-LrEjO7RIhx3QytfZqxvXnlD_rN_T61Cjp4QdinKze5hjoRpH76jEcS6UIzb2CcSI4T9iuO70yG5S__8jj3hTzJ6UbSZ2c0da80lXhVVjMP/w393-h295/palco%20antes.jpg" width="393" /></a></div><br /><p>O maestro<b> Stanislav Kochanovsky</b> dirigiu o <b>Coro</b> e a <b>Orquestra Gulbenkian</b>. Se a Orquestra esteve muito bem, o Coro foi excelente (a Maestrina do Coro<b> Inês Tavares Lopes</b> merece um grande elogio).</p><p>E os solistas foram de topo. O barítono <b>André Baleiro</b> tem uma voz magnífica, bem timbrada e com uma técnica irrepreensível. Junta às fantásticas qualidades vocais a juventude e a boa figura. Estou certo que terá uma merecida carreira internacional nos grandes teatros de ópera mundiais.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg--vOnTjAMdEZNVkyPGMUlytQo_tUwGUKt1bInLG3dqwvt09XYkE6yn8EHHESBq3JE5Jz9sOzt_GAx5UBvkdhpvvp9MfciZiMrWU1OdNWdjTk6Tyd4I8JPG1X-Ujudt2wxZ_rttVf6NPYsRVTqEe5F2QAM_aUe9Ku1J7YREyq1LokrCRprI_DT8KN2/s1024/Andre%CC%81%20Baleiro%203.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="472" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg--vOnTjAMdEZNVkyPGMUlytQo_tUwGUKt1bInLG3dqwvt09XYkE6yn8EHHESBq3JE5Jz9sOzt_GAx5UBvkdhpvvp9MfciZiMrWU1OdNWdjTk6Tyd4I8JPG1X-Ujudt2wxZ_rttVf6NPYsRVTqEe5F2QAM_aUe9Ku1J7YREyq1LokrCRprI_DT8KN2/w204-h442/Andre%CC%81%20Baleiro%203.jpg" width="204" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>A soprano <b>Sónia Grané,</b> surpreendeu-me com uma bela interpretação, voz afinada, e com um registo agudo surpreendente. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZ0YarO-k5pOK3zX15-Nwi6gs-IlKuJcTkqWmwzPdZ3Pp3SFDBFHl4M_kcT4vItNot5eK_fe0OGUPsqSGsQTkwv0F7ExdV8synXfCD1XQUmkH8QT_h1y9K06gGeAiuUxFIm9OJxRkteGyPyDsyj9HMNKI3BbqNfkUsJ6xRdbXgynEA5po0jEJa3LT/s310/soprano.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="310" data-original-width="136" height="429" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZ0YarO-k5pOK3zX15-Nwi6gs-IlKuJcTkqWmwzPdZ3Pp3SFDBFHl4M_kcT4vItNot5eK_fe0OGUPsqSGsQTkwv0F7ExdV8synXfCD1XQUmkH8QT_h1y9K06gGeAiuUxFIm9OJxRkteGyPyDsyj9HMNKI3BbqNfkUsJ6xRdbXgynEA5po0jEJa3LT/w188-h429/soprano.jpg" width="188" /></a></div><br /><p>Um excelente espectáculo.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaBBpZJF2tSsUEna8-8rqc51oZ2LeARgCtLu7QpJZ48UYRzaITsZ1Dy12Bi9OZOl4D1UZ9onIG_0OyLLHxu04_GlL6qBy2a-3KT2i2aXlwikIQvBq4hOsXT8H_WyImN5gLH0QIQzWQUD_fSR1WL7bxsiL5QPyaIwMxDCg7vvyCBKfe03lLYLQlDNNy/s626/tutti1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="333" data-original-width="626" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaBBpZJF2tSsUEna8-8rqc51oZ2LeARgCtLu7QpJZ48UYRzaITsZ1Dy12Bi9OZOl4D1UZ9onIG_0OyLLHxu04_GlL6qBy2a-3KT2i2aXlwikIQvBq4hOsXT8H_WyImN5gLH0QIQzWQUD_fSR1WL7bxsiL5QPyaIwMxDCg7vvyCBKfe03lLYLQlDNNy/w411-h219/tutti1.jpg" width="411" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU0dYbHY1oEVmvfFj4cY8jsdDgR6Hmm4nklYjX2vlRX99f_Q12v0f1tBv7n6hP021OP9LyWEp8M82iNuLUDR0wEvKL2X1EyX62XElPY8rU3o2qaQPxuNYmOKWYLcGxuWM0KBzznHTHxZh49i69sb12vXBEA-2WETwKIRPgYCBT0RtyjeWBr7wCQzIe/s628/tutti2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="366" data-original-width="628" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU0dYbHY1oEVmvfFj4cY8jsdDgR6Hmm4nklYjX2vlRX99f_Q12v0f1tBv7n6hP021OP9LyWEp8M82iNuLUDR0wEvKL2X1EyX62XElPY8rU3o2qaQPxuNYmOKWYLcGxuWM0KBzznHTHxZh49i69sb12vXBEA-2WETwKIRPgYCBT0RtyjeWBr7wCQzIe/w417-h243/tutti2.jpg" width="417" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><span style="font-size: large;">*****</span></p><p><br /></p><p><span style="color: #2b00fe; font-size: large;">EIN DEUTSCHES REQUIEM, Gulbenkian Foundation, Lisbon, November 2022</span></p><p>The <b>Gulbenkian Foundation</b> offered us the magnificent work <b>Ein Deutsches Requiem </b>by <b>Johannes Brahms</b>, one of the choral symphonic pieces that I most appreciate. And it was an excellent gift, given the quality of the performance. The whole piece is remarkable but, for me, the 2nd and 6th movements, due to their instrumental and choral monumentality, are the most impressive.</p><p>Conductor <b>Stanislav Kochanovsky </b>directed the <b>Choir</b> and the <b>Gulbenkian Orchestra</b>. If the Orchestra was very good, the Choir was magnificent (the Conductor of the Choir <b>Inês Tavares Lopes</b> deserves great praise).</p><p>And the soloists were excellent. Baritone <b>André Baleiro</b> has a magnificent voice, well-toned and with excellent technique. He adds youth and good figure to the vocal qualities. I am sure he will have a great and well deserved international career in the world's great opera houses.</p><p>Soprano <b>Sónia Grané</b> surprised me with a remarkable interpretation, beautiful voice, in tune, and with a surprising top quality high register.</p><p><span style="font-size: large;">*****</span></p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com2tag:blogger.com,1999:blog-6732274191821624755.post-72346387962536264772022-11-01T08:40:00.002+00:002022-11-01T08:40:35.743+00:00 DON GIOVANNI, Royal Opera House, Londres / London, Setembro / September 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7EaDVU7aSY3YX3PPRqv74P1cS24vQLmBXojrFGCElDVCXIo3nJ-NIu45zaPkKHuMWuizcRLd0ELabgzXatzWVtd-8Oeek2TCY2Qlra1LDqs8JnEp6hunOJ4AcQi_gmkCUVDXq-3wkL4kIon401swgkU2zBVXOjWg5-hSLdYK6h8XMnEJ8cTOqgTY4/s602/cartaz.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="602" data-original-width="408" height="528" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7EaDVU7aSY3YX3PPRqv74P1cS24vQLmBXojrFGCElDVCXIo3nJ-NIu45zaPkKHuMWuizcRLd0ELabgzXatzWVtd-8Oeek2TCY2Qlra1LDqs8JnEp6hunOJ4AcQi_gmkCUVDXq-3wkL4kIon401swgkU2zBVXOjWg5-hSLdYK6h8XMnEJ8cTOqgTY4/w358-h528/cartaz.jpg" width="358" /></a></div><p style="text-align: center;">(review in English below)</p><p>A produção da <b>Royal Opera House</b> de <b>Don Giovanni</b> de <b>Mozart</b> a cargo de <b>Kasper Holten</b> foi uma das últimas óperas a que assisti ao vivo antes do terrível período da pandemia. Tive a sorte de estar novamente em cena 3 anos depois, numa altura em que voltei a Londres por razões profissionais.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid53qbAJ3B1kVHBbJFvPKuLl_8FHNcZhzC2AHoP6SZYjM9LcFl9TPKUu6FLg35Gpt6CSx4E8nEZx8Du_s8bp3xu0Ex1b-7UYaUpI5i8f9vGWE6s1M1uKAjxMRGPgymGo5F6wrYgtQJA86CYE73_rRjQ0YH6lHIsXpJ5Ff5vVQeA4mQtGPWr7oIEBsd/s640/cena%CC%81rio.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid53qbAJ3B1kVHBbJFvPKuLl_8FHNcZhzC2AHoP6SZYjM9LcFl9TPKUu6FLg35Gpt6CSx4E8nEZx8Du_s8bp3xu0Ex1b-7UYaUpI5i8f9vGWE6s1M1uKAjxMRGPgymGo5F6wrYgtQJA86CYE73_rRjQ0YH6lHIsXpJ5Ff5vVQeA4mQtGPWr7oIEBsd/w426-h320/cena%CC%81rio.jpg" width="426" /></a></div><br /><p>Como já referi, a encenação é moderna e sofisticada, muito bem conseguida. Um complexo cubo central está em permanente rotação no palco, sobre o qual se projectam diversas imagens e há aberturas constantes de múltiplas portas que dão acesso a diversas salas em dois andares, ligados por escadas interiores. Logo na abertura vão aparecendo projectados os milhares de nomes das conquistas do Don Giovanni, uma imagem que aparecerá frequentemente ao longo da récita em momentos adequados. A movimentação cénica dos cantores é também óptima. </p><p>A direcção musical de <b>Constantin Trinks</b> foi muito boa e respeitou os cantores.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6w9TWnAkyKyaCpFy8QPiZoSx8Di2B0lWbH_-PUkakm1EcTyG_urfWz_T6uyrfSu6RetUPRIdfLjtxxp318vStfoseW8sgbmk8v-G66T6dNVlniMdc2tIi2xrRK9GiLMggxOEbR7px9Et6ExfKtndjOArJhyTw6TXm8SPXyxzTj832k-aCX-QPCT9C/s640/Maestro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6w9TWnAkyKyaCpFy8QPiZoSx8Di2B0lWbH_-PUkakm1EcTyG_urfWz_T6uyrfSu6RetUPRIdfLjtxxp318vStfoseW8sgbmk8v-G66T6dNVlniMdc2tIi2xrRK9GiLMggxOEbR7px9Et6ExfKtndjOArJhyTw6TXm8SPXyxzTj832k-aCX-QPCT9C/w423-h317/Maestro.jpg" width="423" /></a></div><p><b>Christopher Maltman</b> que me habituei a ver como Don Giovanni, foi um Leoporello muito bom, com voz marcante, belo timbre e bem no desempenho cénico.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimPicM5nV4KCADWbgdfuxi-vAIsChBsJ18gM5J7As5MmeC8lxiqZ1Xyr8hCgVsEf8MI7-oBV9SM9khbJSUprAsL_5IyC7bGEfg7L_tTs-WlszrzKvMi_ZNGUhZ3jILDQBUi3yxnRmcprvNJM7p3jZtfjci_eStUHuG7SUd_zhWwrz60RY4YhfBh2i5/s640/Leoporello.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimPicM5nV4KCADWbgdfuxi-vAIsChBsJ18gM5J7As5MmeC8lxiqZ1Xyr8hCgVsEf8MI7-oBV9SM9khbJSUprAsL_5IyC7bGEfg7L_tTs-WlszrzKvMi_ZNGUhZ3jILDQBUi3yxnRmcprvNJM7p3jZtfjci_eStUHuG7SUd_zhWwrz60RY4YhfBh2i5/w455-h341/Leoporello.jpg" width="455" /></a></div><br /><p>Don Giovanni foi <b>Luca Micheletti,</b> um excelente actor com boa figura, muito ágil em parco também graças à sua juventude. Mas o mais importante foi a interpretação vocal de qualidade superior, sempre afinado e bem audível.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdHJYurBwC6VWhsTDrQnS-WmOOZXO-SZeRzUY_TOn99qNX8dK9peJviCeklyugqKqIfOtBAeW2IOAJWVzl7ZqNzgDIzuB-YIdgQPWmvjchGQ2TklOY2n40flMh2c1ACzl3Y2NZLcsFogrbALcYEPZpL-Ut1dmwCc_7tKYFWL5qwFhosp4KywQ8uXBP/s640/Don%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="471" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdHJYurBwC6VWhsTDrQnS-WmOOZXO-SZeRzUY_TOn99qNX8dK9peJviCeklyugqKqIfOtBAeW2IOAJWVzl7ZqNzgDIzuB-YIdgQPWmvjchGQ2TklOY2n40flMh2c1ACzl3Y2NZLcsFogrbALcYEPZpL-Ut1dmwCc_7tKYFWL5qwFhosp4KywQ8uXBP/w353-h471/Don%201.jpg" width="353" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8Erj5Cm8UisXe8jSkx7TfrAtHFMp16UyIQCtQViyralp5QVUIInZaY31ITHiuijXeK2vMywveBDb3P09yzWvcu5WvEIv1-OmpViT1ny06z55d8df8reMTD9aGdQepfwA9PZ81iqh7G6obBfrTB6q2hIC5p4iBH-jcEfXZSME1Iuri9drZprWv83r-/s640/Don%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="339" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8Erj5Cm8UisXe8jSkx7TfrAtHFMp16UyIQCtQViyralp5QVUIInZaY31ITHiuijXeK2vMywveBDb3P09yzWvcu5WvEIv1-OmpViT1ny06z55d8df8reMTD9aGdQepfwA9PZ81iqh7G6obBfrTB6q2hIC5p4iBH-jcEfXZSME1Iuri9drZprWv83r-/w452-h339/Don%202.jpg" width="452" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>A soprano<b> Maria Bengtsson </b>foi uma Donna Anna marcante, com óptima presença em palco e uma interpretação vocal superior, de grande emotividade.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidhRj5txS3GbMRrcuRjJ9E9E65Szo2tK_I7Ydezj5RmUkq-yW3Y9FCUNmeqadYc7g1e3OuW-6XInLCBvmUGxKKTcgkGELvI1Z5WZDvyy957b7cSDxrRxilLsLkPq-aly_v39VvD_NiiINvxVbD57YijdnQGmBD7MB2UY1Etm94L5PqOj-GJV45wv9N/s640/Dona%20Anna.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidhRj5txS3GbMRrcuRjJ9E9E65Szo2tK_I7Ydezj5RmUkq-yW3Y9FCUNmeqadYc7g1e3OuW-6XInLCBvmUGxKKTcgkGELvI1Z5WZDvyy957b7cSDxrRxilLsLkPq-aly_v39VvD_NiiINvxVbD57YijdnQGmBD7MB2UY1Etm94L5PqOj-GJV45wv9N/w415-h311/Dona%20Anna.jpg" width="415" /></a></div><p><b>Charles Castronovo</b> foi fantástico como Dom Ottavio. O tenor tem um timbre bonito, bem audível e esteve sempre ao melhor nível na interpretação vocal e cénica.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPmJTkilbbJX4R6JBvKEsVX4MZs5JtwRLvJdee65Sqh5e98gOQoKB8yMqltbXo2nQedwJ-QCt0WTzdHyrwrYMIdVRfa-Z8fn80tRt4WPHaY1hYdy1TAVzaP3ApVGdCKkFryK7OgYMJ8vjHL_yt-ov5-sg5lmqmI_usGiRPGhDeqP4F_9swBihOoXCH/s640/Don%20Ottavio.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPmJTkilbbJX4R6JBvKEsVX4MZs5JtwRLvJdee65Sqh5e98gOQoKB8yMqltbXo2nQedwJ-QCt0WTzdHyrwrYMIdVRfa-Z8fn80tRt4WPHaY1hYdy1TAVzaP3ApVGdCKkFryK7OgYMJ8vjHL_yt-ov5-sg5lmqmI_usGiRPGhDeqP4F_9swBihOoXCH/w432-h324/Don%20Ottavio.jpg" width="432" /></a></div><p>A mezzo <b>Paula Murrihy</b> foi uma magnífica Dona Elvira na interpretação cénica como vocal. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmpKQhP27eS65xZYq9eNer-4grbrVfC-4LBYHJWvpPwd-Y9OMyVL6mIXE-PRGibG3sQnKmGcynwipm0yZsvNDjFQ-Bn2kp-f3RGky_ykD-j0hTMULlmhh3dJ4IB45eJGfGkJQOShI-616jJ4BlbHWuREqa8-f0Psy6EQSIAQ2aXVRvIZ0zDHInCHyK/s640/Dona%20Elvira.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmpKQhP27eS65xZYq9eNer-4grbrVfC-4LBYHJWvpPwd-Y9OMyVL6mIXE-PRGibG3sQnKmGcynwipm0yZsvNDjFQ-Bn2kp-f3RGky_ykD-j0hTMULlmhh3dJ4IB45eJGfGkJQOShI-616jJ4BlbHWuREqa8-f0Psy6EQSIAQ2aXVRvIZ0zDHInCHyK/w435-h326/Dona%20Elvira.jpg" width="435" /></a></div><br /><p>O barítono <b>Thomas Faulkner</b> foi um Masetto notável e de voz segura e bem audível, </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJNTEQRzilC1iLUBi-O-x8G3hL8oATsVoBKimT6TUg_DtwEof0HPbd9KiF9BQ6_5ZFA6lAhYETjcffRUhTZO_qlzlGUOEJxvM_5GwPOf8tv0IXsqnILPFZqJFjRnLOPWzkZAzkrja729ymcFXNYL9uHD-7CVDFwiYi9qqIeShVe3WdDyVOtMjXUeIG/s640/Maseto.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJNTEQRzilC1iLUBi-O-x8G3hL8oATsVoBKimT6TUg_DtwEof0HPbd9KiF9BQ6_5ZFA6lAhYETjcffRUhTZO_qlzlGUOEJxvM_5GwPOf8tv0IXsqnILPFZqJFjRnLOPWzkZAzkrja729ymcFXNYL9uHD-7CVDFwiYi9qqIeShVe3WdDyVOtMjXUeIG/w401-h301/Maseto.jpg" width="401" /></a></div><p>e <b>Christina Gansch</b> foi uma Zerlina atrevida, com voz excelente e óptima presença em palco.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAXYJ4WRGUyYSEgV2-mGTP7N8c0S5e3G5Oj4gvz3glFFSIVNrMGJwhazFhXmsFhkXzYAPdHRis7OnLKpNw6iRYSrjTiEhlp4ZiPMiFZxRNfst6MwVLrpSyGyGxL2c3zFPoA5OFKLmGncQXstUief6oWqc76fq9qpbwWQSSCL11XSyNa57jmlEQJfqn/s640/Zerlina.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAXYJ4WRGUyYSEgV2-mGTP7N8c0S5e3G5Oj4gvz3glFFSIVNrMGJwhazFhXmsFhkXzYAPdHRis7OnLKpNw6iRYSrjTiEhlp4ZiPMiFZxRNfst6MwVLrpSyGyGxL2c3zFPoA5OFKLmGncQXstUief6oWqc76fq9qpbwWQSSCL11XSyNa57jmlEQJfqn/w422-h317/Zerlina.jpg" width="422" /></a></div><p>O Comendador, <b>Adam Palka,</b> não destoou e contribuiu para este magnífico espectáculo de ópera. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMt67Zl7sVsCQNhsH5XM8sf3KmCyey5TcbbBV-Zc_O-3JSWWlU5jIMHSIGi-mTritryLtrOHPhvQ2YrV4nOIH5sG_7c6fnzc0q4PKnBBTG6ebiWRYON_HR83LtLJ33OGrxPvd2aQOFWFmByeTV_ZvI8UOjCDLOvg0_XCweOG5iJMs5fbJ2rmCdaYcR/s640/Comendador.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMt67Zl7sVsCQNhsH5XM8sf3KmCyey5TcbbBV-Zc_O-3JSWWlU5jIMHSIGi-mTritryLtrOHPhvQ2YrV4nOIH5sG_7c6fnzc0q4PKnBBTG6ebiWRYON_HR83LtLJ33OGrxPvd2aQOFWFmByeTV_ZvI8UOjCDLOvg0_XCweOG5iJMs5fbJ2rmCdaYcR/w421-h316/Comendador.jpg" width="421" /></a></div><p>Um excelente espectáculo!</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5jO5Id81y7ne5JtIt0n5rO9dcNA9M0zNwj35tWi8Vy45qaOqPUQbhni_i3o8nMlO_WotiutXEwLNOj1kaetaP0tHIymNodG_pUZ3UiUOHhbfjHkjNnMXxiyIiQ8VyM2SdOJwa_GYSCFHFB9SXyw7zTWZS86tt11CBiOwQf-VUF6XtN9xjedQ5d4Nn/s640/Tutti1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5jO5Id81y7ne5JtIt0n5rO9dcNA9M0zNwj35tWi8Vy45qaOqPUQbhni_i3o8nMlO_WotiutXEwLNOj1kaetaP0tHIymNodG_pUZ3UiUOHhbfjHkjNnMXxiyIiQ8VyM2SdOJwa_GYSCFHFB9SXyw7zTWZS86tt11CBiOwQf-VUF6XtN9xjedQ5d4Nn/w441-h331/Tutti1.jpg" width="441" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw4W6MMYP0AdEwmIdwfK6W1cPx9xawOGpzznxO1I9fEsNwYEH-RX76mc9NYZ010yP9GfjQAR819i7ICTcYl5ex1E9g-8w93dNzY_uoEz82eqiw61_4AFU28gm5XXpdhX96saMgZIHxTpNDX4a1zft7Z1POcTZS5SBNE6zB7jsgrYnOzi4mYBDHejQy/s640/Tutti2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw4W6MMYP0AdEwmIdwfK6W1cPx9xawOGpzznxO1I9fEsNwYEH-RX76mc9NYZ010yP9GfjQAR819i7ICTcYl5ex1E9g-8w93dNzY_uoEz82eqiw61_4AFU28gm5XXpdhX96saMgZIHxTpNDX4a1zft7Z1POcTZS5SBNE6zB7jsgrYnOzi4mYBDHejQy/w449-h337/Tutti2.jpg" width="449" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj30khKWhODArcYv1ocV9yH_t4lWfv51ONOAe-sBYoqe2NEdSt8r7kh14Dt52FPvVDwZwpcojQdGoGhm7EagAQdu5jXQVI3csrjDrpdzfWSQGNU8XCqvNRe_c9G3i8x2TcCYvoOCLj5tqIl8vaUkQbwYeMhLx4mDcGG1wnX0Zf1ISbPnvb1o1WzQjvt/s640/Tutti3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj30khKWhODArcYv1ocV9yH_t4lWfv51ONOAe-sBYoqe2NEdSt8r7kh14Dt52FPvVDwZwpcojQdGoGhm7EagAQdu5jXQVI3csrjDrpdzfWSQGNU8XCqvNRe_c9G3i8x2TcCYvoOCLj5tqIl8vaUkQbwYeMhLx4mDcGG1wnX0Zf1ISbPnvb1o1WzQjvt/w443-h332/Tutti3.jpg" width="443" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNydQI0c7YTeoc5XoJJXujSwJ6VuRCBKrlSeNJsPwGzFv9ypklyby8xTNqlkn2FQ6G9EabBtgJYlbLJj96-i1qCfoXGoNC6jUGnTmwvokwxiHjJ5hQSw7y-MW7NSpRUXISZRGyunXmCQ-uQn_uhR7bCLr6eS4TPkaiUiFWaqYia3Hf8NvnrRKDGgRD/s640/tutti4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNydQI0c7YTeoc5XoJJXujSwJ6VuRCBKrlSeNJsPwGzFv9ypklyby8xTNqlkn2FQ6G9EabBtgJYlbLJj96-i1qCfoXGoNC6jUGnTmwvokwxiHjJ5hQSw7y-MW7NSpRUXISZRGyunXmCQ-uQn_uhR7bCLr6eS4TPkaiUiFWaqYia3Hf8NvnrRKDGgRD/w444-h333/tutti4.jpg" width="444" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKIck9W8Wo_h2eWiGrKbQWmynAcYCWYaMC1WOWOe-nbVGvCFb6hMEpmJV6HB1XPRMsT7IXzHOYtthtj9utaXcuAitU2QKCI3sO6mYbTan_5hwEw1u2QXX9Veja901lQbj28CT9Vmp9ZbRrU1bZGKEWvREv02fYsQDhF-sa11V8TraMQDKDP67gufom/s640/tutti5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKIck9W8Wo_h2eWiGrKbQWmynAcYCWYaMC1WOWOe-nbVGvCFb6hMEpmJV6HB1XPRMsT7IXzHOYtthtj9utaXcuAitU2QKCI3sO6mYbTan_5hwEw1u2QXX9Veja901lQbj28CT9Vmp9ZbRrU1bZGKEWvREv02fYsQDhF-sa11V8TraMQDKDP67gufom/w440-h331/tutti5.jpg" width="440" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><span style="font-size: large;">*****</span></p><p><br /></p><p><span style="color: #2b00fe; font-size: large;">DON GIOVANNI, Royal Opera House, London, September 2022</span></p><p>The production of the <b>Royal Opera House </b>of <b>Mozart´</b>s <b>Don Giovanni </b>by <b>Kasper Holten</b> was one of the last operas I saw live before the terrible period of the pandemic. I was lucky enough to be back on the scene 3 years later, at a time when I returned to London for professional reasons.</p><p>As I mentioned, the staging is modern and sophisticated, very well done. A complex central cube is in permanent rotation on the stage, on which several images are projected and there are constant openings of multiple doors that give access to different rooms on two floors, connected by interior stairs. Right at the opening, thousands of names of Don Giovanni's conquests are projected, an image that will often appear throughout the performance at appropriate times. The scenic movement of the singers is also great.</p><p><b>Constantin Trinks</b>' musical direction was very good and respected the singers.</p><p><b>Christopher Maltman</b>, who I got used to seeing as Don Giovanni, was a very good Leoporello, with a remarkable voice, beautiful timbre and a good stage performance.</p><p>Don Giovanni was <b>Luca Micheletti,</b> an excellent actor with a good figure, very agile but also thanks to his youth. But the most important thing was the superior quality vocal interpretation, always in tune and very audible.</p><p>Soprano <b>Maria Bengtsson</b> was a remarkable Donna Anna, with great presence on stage and a superior vocal interpretation, with great emotion.</p><p><b>Charles Castronovo </b>was fantastic as Dom Ottavio. The tenor has a beautiful timbre, very audible and has always been at the best level in vocal and scenic interpretation.</p><p>Mezzo <b>Paula Murrihy </b>was a magnificent Dona Elvira in the scenic interpretation as vocal.</p><p>Baritone <b>Thomas Faulkner </b>was a remarkable Masetto with a confident, well-audible voice, and <b>Christina Gansch </b>was a cheeky Zerlina, with an excellent voice and great stage presence.</p><p>The Comendatore <b>Adam Palka</b>, did not stand out and contributed to this magnificent opera presentation.</p><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div>An excellent performance.<p></p><p><span style="font-size: large;">*****</span></p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com0tag:blogger.com,1999:blog-6732274191821624755.post-31366822044442468042022-10-27T21:12:00.003+01:002022-10-27T21:18:54.572+01:00 MEDEIA, METropolitan OPERA, New York, Outubro / October 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibWh0082IOHfOkFl6IzJjT0Ik40X39SaFo3IfaBSBCaQW1Q25Gguz8MYlq8e54M4aRxUefaD4tO28sOMKUyZ9VnZkQCblMWWKBM0-YxPC--QZpfjxyAcO734cS4eYE-ZpzzuI7jHU54Fzi5g2PC-DraCRItDyWbiDN8QlywMkik4kgKS7Xjr0OjC2L/s640/cartaz%20Medea%20outdoor.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="405" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibWh0082IOHfOkFl6IzJjT0Ik40X39SaFo3IfaBSBCaQW1Q25Gguz8MYlq8e54M4aRxUefaD4tO28sOMKUyZ9VnZkQCblMWWKBM0-YxPC--QZpfjxyAcO734cS4eYE-ZpzzuI7jHU54Fzi5g2PC-DraCRItDyWbiDN8QlywMkik4kgKS7Xjr0OjC2L/w304-h405/cartaz%20Medea%20outdoor.jpg" width="304" /></a></div><p style="text-align: center;">(Review in English below)</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgziTI0HsHf6LN77pGHpaXjBmOWB1uH0pRknQT9kgoWc-C6qaDHS5stYrC-3PM36k5RxvS-I0PXVnQXLjrG0xlO5ToFH20engZkBkiXLKZgdIr69gUsXruNefp3jLmTKmNF9y00H70V2mUQw9c_ALsswleTSp7-41OhwudDesQM_cKk2kzBrE_CMOmc/s640/Outdoor%20Medea%20pintura.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgziTI0HsHf6LN77pGHpaXjBmOWB1uH0pRknQT9kgoWc-C6qaDHS5stYrC-3PM36k5RxvS-I0PXVnQXLjrG0xlO5ToFH20engZkBkiXLKZgdIr69gUsXruNefp3jLmTKmNF9y00H70V2mUQw9c_ALsswleTSp7-41OhwudDesQM_cKk2kzBrE_CMOmc/w324-h432/Outdoor%20Medea%20pintura.jpg" width="324" /></a></div><p>A opera <b>Medeia</b> de <b>L Cherubini </b>foi pela primeira vez apresentada na <b>Metropolitan Opera</b>, numa encenação de <b>David McVicar</b>. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcDNa9eMivmiIGCYBO-CalYCoVkQaTpKK3PpSwjgrImsllgEWG4M1WfnCJ3iQWmVfW-dQ0SO7-wN0_CILj-tsK5cVhQUQqttcEBXWOY_7gZDtkzOynf01PeNuInZ7SBi0M81YTaqnXGcPGt366SaKMlKywIiVDx63GqMuR6mCwNArJ1rTAj9R_kC9u/s640/cartaz%20Medea%205%20mau.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcDNa9eMivmiIGCYBO-CalYCoVkQaTpKK3PpSwjgrImsllgEWG4M1WfnCJ3iQWmVfW-dQ0SO7-wN0_CILj-tsK5cVhQUQqttcEBXWOY_7gZDtkzOynf01PeNuInZ7SBi0M81YTaqnXGcPGt366SaKMlKywIiVDx63GqMuR6mCwNArJ1rTAj9R_kC9u/w282-h376/cartaz%20Medea%205%20mau.jpg" width="282" /></a></div><br /><p>O espectáculo passa-se num palco com placards em ângulo, que abrem periodicamente deixando ver o que se passa no interior. No fundo há um enorme espelho angulado, que permite um efeito visual interessante. É uma encenação bem conseguida, que também acentua a exclusão da Medeia da comunidade de forma muito eficaz.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb_jX9EhxLRxxGEwB-8UXrGnMWe2XKgWynz9LKIG2pe1oP_AagblXdUSB9bFXCX-MmMi9p7XrIt0CnzzMpH9iUuRn_2jaHqcUUWzH68rR5QbK-NfpcHiohaFPMMIAAGugCpHQZDg7uktmFv15iiUeFSNfHH7UEQgK0HSMTL3m7bozmj-IwPiUNJcKq/s640/cartaz%20pequeno%20Medea.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="419" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb_jX9EhxLRxxGEwB-8UXrGnMWe2XKgWynz9LKIG2pe1oP_AagblXdUSB9bFXCX-MmMi9p7XrIt0CnzzMpH9iUuRn_2jaHqcUUWzH68rR5QbK-NfpcHiohaFPMMIAAGugCpHQZDg7uktmFv15iiUeFSNfHH7UEQgK0HSMTL3m7bozmj-IwPiUNJcKq/w314-h419/cartaz%20pequeno%20Medea.jpg" width="314" /></a></div><p>Medeia é abandonada por Jasão, de quem tem 2 filhos, que vai casar com Glauce, filha do Rei Creonte. Ameaça Jasão que mata a Glauce se o casamento se concretizar e pede-lhe para voltar para ela, tendo em consideração os filhos. É rejeitada e jura vingar-se. A multidão quer a morte de Medeia e Jasão diz-lhe que abandone Corinto. Ela pede para ficar apenas um dia, para se despedir dos filhos. À criada Neris confessa os seus planos. Dá-lhe para entregar a Glauce, como prenda de casamento, uma túnica e uma tiara envenenadas, que a matarão. Néris tenta dissuadí-la a poupar os filhos mas o desejo de vingança é superior. Tranca-se num templo, mata os filhos e incendeia o templo, lançando-se às chamas.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzCmRtWje6Fd6wRQ4Ez0yCH-XGbvOJ0YoojFYn801yALsFHHoWprltHSDOOtVcyLP2for_BBIBY1wRnqkT22TboMKV_Q-MIN68QYdwo4Qzf-_idEgPtzEl3BDji5xT1qj-RqOPLhi0CpfdzjvNrqJ_O3a_iiYVEnFQbs6-nCVTICyb9C1XJWBE_y3C/s640/cortina.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="415" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzCmRtWje6Fd6wRQ4Ez0yCH-XGbvOJ0YoojFYn801yALsFHHoWprltHSDOOtVcyLP2for_BBIBY1wRnqkT22TboMKV_Q-MIN68QYdwo4Qzf-_idEgPtzEl3BDji5xT1qj-RqOPLhi0CpfdzjvNrqJ_O3a_iiYVEnFQbs6-nCVTICyb9C1XJWBE_y3C/w311-h415/cortina.jpg" width="311" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQdBCutGyxfbAwxg082gBw1yAYH1GrXZkwlF11aoCrp_hjDglTWx0mPFjRZbXPIda-dw8Vr4YsO3UeSOh8SQ9_Bp1wb3vZSWisxdOm3frORWOGkSNC1bgKsblqHs2ILZdX8Y0bpRymeZ7vhphEGOFpuKxHbNWTsGlYpt92Y97viybH4znLm8OfaNcu/s640/cenario.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQdBCutGyxfbAwxg082gBw1yAYH1GrXZkwlF11aoCrp_hjDglTWx0mPFjRZbXPIda-dw8Vr4YsO3UeSOh8SQ9_Bp1wb3vZSWisxdOm3frORWOGkSNC1bgKsblqHs2ILZdX8Y0bpRymeZ7vhphEGOFpuKxHbNWTsGlYpt92Y97viybH4znLm8OfaNcu/w405-h304/cenario.jpg" width="405" /></a></div><p>O maestro <b>Carlo Rizzi </b>dirigiu a Orquestra e Coro que tiveram desempenhos notáveis.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd2JeAG1ELAovNu6Wpr3mJegMLvglTSPjf5fRq46aZ6_Gy2G3pJ2jPgs6_NdQ4Fpuw_Mr7ILyX_bsvRySb68J-NZ5KKHQGYSp8erojeBj8daFTop9iNoT9yX6cYyVFKbcB9oF-xy6MjkSV3c3t2e6FdOMzspIxu36p-x_Rq6EIXDvCziaTHNBfNdDl/s210/maestro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="210" data-original-width="195" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd2JeAG1ELAovNu6Wpr3mJegMLvglTSPjf5fRq46aZ6_Gy2G3pJ2jPgs6_NdQ4Fpuw_Mr7ILyX_bsvRySb68J-NZ5KKHQGYSp8erojeBj8daFTop9iNoT9yX6cYyVFKbcB9oF-xy6MjkSV3c3t2e6FdOMzspIxu36p-x_Rq6EIXDvCziaTHNBfNdDl/w237-h255/maestro.jpg" width="237" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDweeCrj3glLxIbs9ZTW1e-U1hyCKQjnkT7RfxBwA26YzI41YCl4PqYYsoODUS6DiHaKgXI2nujBByFBDDHVg247xyto2--zgZ4JoVfqV8TtZfEg5hl-ttAc_wGnb73_qr3xpRtf727y_ZiGLzhPIZqPTqv5QLbm-jtMb_DRPdr1RM48SZt78IPtT9/s640/coro1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDweeCrj3glLxIbs9ZTW1e-U1hyCKQjnkT7RfxBwA26YzI41YCl4PqYYsoODUS6DiHaKgXI2nujBByFBDDHVg247xyto2--zgZ4JoVfqV8TtZfEg5hl-ttAc_wGnb73_qr3xpRtf727y_ZiGLzhPIZqPTqv5QLbm-jtMb_DRPdr1RM48SZt78IPtT9/w424-h318/coro1.jpg" width="424" /></a></div></div><br /><p>Esta ópera é “<i>one woman show</i>”. O papel de Medeia é longo, exigente e central. A soprano <b>Sondra Radvanovsky</b> teve um desempenho excelente, não só na presença em palco como, sobretudo, na interpretação vocal. Tem uma voz enorme, talvez uma das maiores da actualidade. Esteve sempre bem, com um registo médio brutal, agudos longos e imponentes, e foi muito expressiva e convincente nos diversos sentimentos que a personagem expressa.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkEBJcmJ5TdQwUZl29lIluPdQ3RR_qeSQ2lkv1F8ZxBZLyeRMcgwRYpw17AOFJO9TVBzGKG3IflVoKw1p13W2L43S1KVbctNZ6nvpCIYuUdYtn-KfnoxaolcjBQTmCAIFn8XzXOMgY75vPvcKBFVs3GoskNXegNFkhuc7paWF4pxucER-LA4DjFWnA/s640/Medea3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkEBJcmJ5TdQwUZl29lIluPdQ3RR_qeSQ2lkv1F8ZxBZLyeRMcgwRYpw17AOFJO9TVBzGKG3IflVoKw1p13W2L43S1KVbctNZ6nvpCIYuUdYtn-KfnoxaolcjBQTmCAIFn8XzXOMgY75vPvcKBFVs3GoskNXegNFkhuc7paWF4pxucER-LA4DjFWnA/w408-h306/Medea3.jpg" width="408" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJRK-d1SJYVRy-Q1sU0FI9Lfd7zHp1YMiw0PwltY4OHxI2hKjebE6IAzrKdkTCXMqIwfpI77kYW4iWkyVJYI55cyDI5-PiNPnB38P68VZYJqufan9r_tIB1B0tIK4jqrCGIdAzVDkns8WoDcCfM2gS-yBA0k3qnMQKi29FWVu8TvORxlfPGED_Nm0U/s317/Medea%205.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="317" data-original-width="253" height="411" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJRK-d1SJYVRy-Q1sU0FI9Lfd7zHp1YMiw0PwltY4OHxI2hKjebE6IAzrKdkTCXMqIwfpI77kYW4iWkyVJYI55cyDI5-PiNPnB38P68VZYJqufan9r_tIB1B0tIK4jqrCGIdAzVDkns8WoDcCfM2gS-yBA0k3qnMQKi29FWVu8TvORxlfPGED_Nm0U/w328-h411/Medea%205.jpg" width="328" /></a></div><p>Os restantes solistas estiveram também ao mais alto nível. Saliento a criada Néris interpretada por <b>Ekaterina Gubanova</b> que, mais uma vez, foi excelente. Voz afinada sempre sobre a orquestra e com momentos de grande lirismo.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggj_kdVa6S3SKFEbtSjAxXqdstaCc5Inpi3VRE8fiUIS_tQ7JxRIvhmEbLZlz_mUaMYkgUkMXmnI9mlNPePzSNOspcidxmZfDYOObK4SDuHxDC-srQddke_zJ1B-G8zrwNlsF7435TSxrzIpGlTBeIpuY0AznNg7pBh00xSJ3gH7RmAhbJ3tc1HEGn/s293/Neris.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="263" data-original-width="293" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggj_kdVa6S3SKFEbtSjAxXqdstaCc5Inpi3VRE8fiUIS_tQ7JxRIvhmEbLZlz_mUaMYkgUkMXmnI9mlNPePzSNOspcidxmZfDYOObK4SDuHxDC-srQddke_zJ1B-G8zrwNlsF7435TSxrzIpGlTBeIpuY0AznNg7pBh00xSJ3gH7RmAhbJ3tc1HEGn/w341-h306/Neris.jpg" width="341" /></a></div><p>O tenor <b>Matthew Polenzani</b> foi um Giascone correcto, com boa presença e um registo vocal médio sólido mas com algum esforço nos agudos que saíam de menor qualidade.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxCzNAauMToid7OtDwmXz17ehVS73KZP9bu5HcPhW06RlRiIiQbMdzg0oTBzEBpqUop-CJdpYtRxY1EbxEDKZmvlBOuBmH8c8Oa_69gZ4QJtzpWGZcIZaEvwb8_fabA2_iOpd8_Jaxx8uIFfscQh_GasEwTPfkKrctH_3lVB-hA2V9Iz47QG7L7sA5/s267/Giascone%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="267" data-original-width="236" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxCzNAauMToid7OtDwmXz17ehVS73KZP9bu5HcPhW06RlRiIiQbMdzg0oTBzEBpqUop-CJdpYtRxY1EbxEDKZmvlBOuBmH8c8Oa_69gZ4QJtzpWGZcIZaEvwb8_fabA2_iOpd8_Jaxx8uIFfscQh_GasEwTPfkKrctH_3lVB-hA2V9Iz47QG7L7sA5/w294-h333/Giascone%202.jpg" width="294" /></a></div><p>Outro grande cantor foi o barítono <b>Michele Pertusi </b>como Creonte. Uma boa presença em palco e uma voz forte e bem timbrada. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQRE5Zym0mVYxTl0n0FDVjOa7W5c22B7aQnNGNojYUGpAutZps6QAWlhA6wuJ1tbo2OHu2lFwXV1R86dJG-ehEBhJjUl7ZVaX7PTAx1XLIRwAY52Ytdg-zSYddANH3jcKUEUIs25X9lUC34FcsEHxLmJEdo4EoLMROqli6lWK20PWaNCPK7wRns24e/s246/Creonte.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="246" data-original-width="216" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQRE5Zym0mVYxTl0n0FDVjOa7W5c22B7aQnNGNojYUGpAutZps6QAWlhA6wuJ1tbo2OHu2lFwXV1R86dJG-ehEBhJjUl7ZVaX7PTAx1XLIRwAY52Ytdg-zSYddANH3jcKUEUIs25X9lUC34FcsEHxLmJEdo4EoLMROqli6lWK20PWaNCPK7wRns24e/w273-h311/Creonte.jpg" width="273" /></a></div><p>A soprano <b>Janai Brugger </b>cumpriu como Glauce, apesar de ter uma intervenção relativamente pequena.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihNHrRzpHi-tWkkzF3RKNw0whVJKIlKTU1dw76NRF30EgeSve1HkqaUosRehbvMqLse6VPSKj-BhVmWwE6k8ARyeMV92w1TsNrZR-QhIb20Y8U0l-zOZp5hqqAqv9ulmgs8fM5nPFF_RbFjvYU4OgO5_ZWzUNAsVpX0XAA98hmlC12vKP7RR16EyYf/s271/Glauce.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="271" data-original-width="251" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihNHrRzpHi-tWkkzF3RKNw0whVJKIlKTU1dw76NRF30EgeSve1HkqaUosRehbvMqLse6VPSKj-BhVmWwE6k8ARyeMV92w1TsNrZR-QhIb20Y8U0l-zOZp5hqqAqv9ulmgs8fM5nPFF_RbFjvYU4OgO5_ZWzUNAsVpX0XAA98hmlC12vKP7RR16EyYf/w267-h288/Glauce.jpg" width="267" /></a></div><br /><p>No final até houve chuva de papelinhos!! (ou não estivéssemos nos EUA...).</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiRlwBnme8UHI1D1OdmLX5sNWGdnMXs2yiJbyqZzQ41gAem8R5C0rfAqpSfdWJB7PBVWed-EJcuMWJPbR2Redr_NrQfdn_A-smVcwqrtxniejN39oeRefY_fhrqzRhuZYBR52vNbf0vGcbfWNVtNwv_8mNemUg5hrWhO5j5tKX98fTnbBqdQelE9GE/s630/papelinhos%20no%20final.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="359" data-original-width="630" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiRlwBnme8UHI1D1OdmLX5sNWGdnMXs2yiJbyqZzQ41gAem8R5C0rfAqpSfdWJB7PBVWed-EJcuMWJPbR2Redr_NrQfdn_A-smVcwqrtxniejN39oeRefY_fhrqzRhuZYBR52vNbf0vGcbfWNVtNwv_8mNemUg5hrWhO5j5tKX98fTnbBqdQelE9GE/w437-h249/papelinhos%20no%20final.jpg" width="437" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqQ809QK4fPRcQyxTlxNsZN-bzWjKVMnJz4USoYXdzfW_QFaTnLUJtNRpnfPDGYsuDib9TlXnYmVGXfv8dHAWQrhF0IuUMnsDWpEI7IXet6tOGE1Gf95uJRScr92KT4NNnz9cNDiQ2bbOe_s7FRoihqxiMm8LaH47-WMdaUwBzrwXpzCITnov250fr/s640/tutti1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqQ809QK4fPRcQyxTlxNsZN-bzWjKVMnJz4USoYXdzfW_QFaTnLUJtNRpnfPDGYsuDib9TlXnYmVGXfv8dHAWQrhF0IuUMnsDWpEI7IXet6tOGE1Gf95uJRScr92KT4NNnz9cNDiQ2bbOe_s7FRoihqxiMm8LaH47-WMdaUwBzrwXpzCITnov250fr/w432-h324/tutti1.jpg" width="432" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg88JtM5A1TgzTehbzn7qSZDniaBr7HX_XRUqQhP12ddjY8IrZRNlFCDcBvftRgEhCSMsk8W0UbAIAjyRTs0S-muQT1WRYeCIcicHjOfmlXRl5NbThaKXCvgW_2q4uRTEcl4dUFIoj30Qzm4ivIbLaaaM99MsTLR-Ds2lx6WYAbPWp0ricA40n8ZMT8/s620/tutti2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="192" data-original-width="620" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg88JtM5A1TgzTehbzn7qSZDniaBr7HX_XRUqQhP12ddjY8IrZRNlFCDcBvftRgEhCSMsk8W0UbAIAjyRTs0S-muQT1WRYeCIcicHjOfmlXRl5NbThaKXCvgW_2q4uRTEcl4dUFIoj30Qzm4ivIbLaaaM99MsTLR-Ds2lx6WYAbPWp0ricA40n8ZMT8/w433-h134/tutti2.jpg" width="433" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiswsXzhm52xBO8xEq0UkWDr08PSWJKXNoYO1DjoLWLciENZ1cYOslHEVV-m7hH3VJokqQx-ij4lJFS7m9DugzqE7NuDpddx66YgiYCenwF8Z5fZqK7JIjvTDLGUnqI6QAlIfr_2t6IHDYpK4wt7RkF0Hu1Hbgx1z-zjWLdyaAOiSxHrYPf4-Lp97wh/s620/tutti3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="392" data-original-width="620" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiswsXzhm52xBO8xEq0UkWDr08PSWJKXNoYO1DjoLWLciENZ1cYOslHEVV-m7hH3VJokqQx-ij4lJFS7m9DugzqE7NuDpddx66YgiYCenwF8Z5fZqK7JIjvTDLGUnqI6QAlIfr_2t6IHDYpK4wt7RkF0Hu1Hbgx1z-zjWLdyaAOiSxHrYPf4-Lp97wh/w419-h264/tutti3.jpg" width="419" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSLpABKUqBLsWhKG-B1DJWyWM6iJhTCfZloeF6qNlF2b-aT77KMCzlFsvhqOA3yOvIfYfdmF1l2siAIk8yfOks1VMxqOq5BLgk0RchQ2CTQ3JJ-S1YZGOC0NCKLzeF2_hvve_fP59L7w2ZjteMXopIW6UIlw_0x7ZOuqmBkG9IFuTlaSpilQ27BhHr/s640/tutti4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSLpABKUqBLsWhKG-B1DJWyWM6iJhTCfZloeF6qNlF2b-aT77KMCzlFsvhqOA3yOvIfYfdmF1l2siAIk8yfOks1VMxqOq5BLgk0RchQ2CTQ3JJ-S1YZGOC0NCKLzeF2_hvve_fP59L7w2ZjteMXopIW6UIlw_0x7ZOuqmBkG9IFuTlaSpilQ27BhHr/w408-h306/tutti4.jpg" width="408" /></a></div><p><span style="font-size: x-large;">****</span></p><p><span style="color: #2b00fe; font-size: large;">MEDEA, METROPOLITAN OPERA, New York, October 2022</span></p><p><b>L Cherubini</b>'s opera <b>Medea</b> was first performed at the <b>Metropolitan Opera</b>, staged by <b>David McVicar.</b></p><p>The action takes place on a stage with angled billboards, which periodically open to reveal what is going on inside. In the background there is a huge angled mirror, which allows for an interesting visual effect. It's a well-crafted staging that also accentuates Medea's exclusion from the community very effectively.</p><p>Medea is abandoned by Jason, with whom she has 2 children, who is going to marry Glauce, daughter of King Creon. Medea threatens Jasen saying that she will kill Glauce if the marriage takes place and asks him to return to her, considering their 2 children. She is rejected and swears revenge. The crowd asks for Medea's death and Jason asks her to leave Corinth. Medea asks to stay just one more day, to say goodbye to her children. To her maid Neris she confesses her plans. She asks her to give Glauce, as a wedding gift, a poisoned tunic and loom, which will kill her. Neris tries to dissuade her from killing her children, but her desire for revenge is superior. She locks herself in a temple, kills her children, sets the temple on fire and throws herself into the flames.</p><p>Conductor<b> Carlo Rizzi </b>directed the Orchestra and Choir that had remarkable performances.</p><p>This opera is “<i>one woman show</i>”. Medea's role is long, demanding and central to the entire opera. Soprano <b>Sondra Radvanovsky</b> had an excellent performance, not only in her stage presence but, above all, in her vocal performance. She has a huge voice, perhaps one of the greatest today, and she was very convincing. She was always well, with a fabulous midrange, long and imposing highs, having been very expressive in the various feelings that the character expresses.</p><p>The other soloists were also at the highest level. I would like to highlight the servant Neris played by <b>Ekaterina Gubanova</b> who, once again, was excellent. Voice always tuned over the orchestra and with moments of great lyricism.</p><p>Tenor <b>Matthew Polenzani</b> was a correct Giascone, with good presence and a solid mid-vocal register, but occasionally showing some effort in the highs that came out of lesser quality.</p><p>Another great singer was baritone <b>Michele Pertusi</b> as Creon. A good presence on stage and a powerful and well-toned voice.</p><p>Soprano <b>Janai Brugger</b> performed as Glauce, despite having a relatively small intervention.</p><p><span style="font-size: x-large;">****</span></p><br /><br />Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com2tag:blogger.com,1999:blog-6732274191821624755.post-87762196172041636712022-10-24T22:48:00.002+01:002022-10-24T22:48:45.618+01:00 MESSA DA REQUIEM, Verdi, Teatro Regio di Parma, Setembro / September 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_uzd1CykQpFlh3wedGNGFSHMQci29xyALYkkIvTImFN5wrYpi1DirOFMb7OPrwSKMruFroCsmeXv1lg4WqzJ0ZpyzaHOruydSuOwKehp-Qnytpr_ZGFYYgRhzNhBuQN3H0KvsinaI9vkA5_OgkgGNtpA9-OgrEI_66v9Dq4P9ZQDSx6CfLZeyBrOo/s1024/cartaz.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_uzd1CykQpFlh3wedGNGFSHMQci29xyALYkkIvTImFN5wrYpi1DirOFMb7OPrwSKMruFroCsmeXv1lg4WqzJ0ZpyzaHOruydSuOwKehp-Qnytpr_ZGFYYgRhzNhBuQN3H0KvsinaI9vkA5_OgkgGNtpA9-OgrEI_66v9Dq4P9ZQDSx6CfLZeyBrOo/w348-h464/cartaz.jpg" width="348" /></a></div><p style="text-align: center;">(review in English below)</p><p>O <b>Requiem </b>de <b>Verd</b>i foi colossal!!! Isto é que é Verdi e isto é que faz qualquer um apaixonar-se por esta obra! </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSBD24oEFgDV2fp7PF0Mpv1fe5MIbOZJl15qaFIk_pJFEN1Clvnx0LoICbyEMnHFecMQMw_lManp5uEZRzNJ22qAkbFFrfMn78VGBN4YKuAwD3Q3ROJzdmClbQdMl4LxSGfY-JI-a1a55Qka24nfuHiLlPunieIfqs5SC886ocYckDa5pXvNWm9Jxd/s1024/teatro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSBD24oEFgDV2fp7PF0Mpv1fe5MIbOZJl15qaFIk_pJFEN1Clvnx0LoICbyEMnHFecMQMw_lManp5uEZRzNJ22qAkbFFrfMn78VGBN4YKuAwD3Q3ROJzdmClbQdMl4LxSGfY-JI-a1a55Qka24nfuHiLlPunieIfqs5SC886ocYckDa5pXvNWm9Jxd/w420-h315/teatro.jpg" width="420" /></a></div><p>O <b>Mariotti </b>é um dos meus maestros verdianos favoritos e hoje, mais uma vez, pude constatar que o seu conhecimento, a sua sensibilidade, a sua entrega a Verdi é ímpar e o resultado, quando se tem uma orquestra fenomenal e um coro sólido e harmonioso, só pode ser memorável. O detalhe às indicações vocais aos cantores, a dinâmica imprimida, tudo fantástico.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgshyrzR_AEmSwbugK1VlXprlkfd1TLhM_JGLeNyFrGhwE2mWO1IK3AcNeoH7eY4CLQA_luWh3rwiWLLPVDW_1aZc5zFb74t1hj1TYNLbZZbQ2N0MrBx2kTpZt_GNOHX04IOyntg58OPJ-1SIOdJtVp6TKLPdViCLKYQM24v9p4kS2RX9jzWQA4ta3_/s1024/maestro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="473" height="372" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgshyrzR_AEmSwbugK1VlXprlkfd1TLhM_JGLeNyFrGhwE2mWO1IK3AcNeoH7eY4CLQA_luWh3rwiWLLPVDW_1aZc5zFb74t1hj1TYNLbZZbQ2N0MrBx2kTpZt_GNOHX04IOyntg58OPJ-1SIOdJtVp6TKLPdViCLKYQM24v9p4kS2RX9jzWQA4ta3_/w172-h372/maestro.jpg" width="172" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_HtLPhQthowVrgYUrpbbKJ-7uuafetydYNVme5QHeAnWk61SNWRem4O_rNvsavKXAPMQ2ErkqzLd4Nh_YktA_ltOg4lf5hdAhlnKuaxE6tQxgYtI5UoNNPEC_QsUPnCZ2k8_C054hYk5anGdvMIUKS5ghayA26L_Ctr77MvfiQFLV55ffO-01jK4G/s1024/maestro2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_HtLPhQthowVrgYUrpbbKJ-7uuafetydYNVme5QHeAnWk61SNWRem4O_rNvsavKXAPMQ2ErkqzLd4Nh_YktA_ltOg4lf5hdAhlnKuaxE6tQxgYtI5UoNNPEC_QsUPnCZ2k8_C054hYk5anGdvMIUKS5ghayA26L_Ctr77MvfiQFLV55ffO-01jK4G/w270-h360/maestro2.jpg" width="270" /></a><br /><br /></div><p>Dos solistas só não conhecia a contralto. A harmonia entre os 4 timbres individuais foi perfeita, sem sobreposições de qualidade numa homogeneidade perfeita. <b>Riccardo Zanellato </b>foi um autêntico sólido rochedo dramático. O <b>Stefan Pop</b> sublime nos seus pianos no <i>Ingemisco</i> e no <i>Hostias</i>, seguro, estabilidade vocal e emoção sincera a 100%. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik_XiG-kw6OxBQffqml4J96BdP19jgdd7WcU9WuIh6DKdJJSVB5CXk7T9OK4VgxV7GBButqQHRcKCbyl-zuPAbiwGin4Mfp0E-n8GUm_qYVdPgKy7zulSwtQzFqf8uAS4P9ek_bfZzs6-Bl85skivXQiCz5sO4F1k4pVwjNhVyl-SW_DYfkogVBPfa/s1024/Riccardo%20Zanellato.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="417" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik_XiG-kw6OxBQffqml4J96BdP19jgdd7WcU9WuIh6DKdJJSVB5CXk7T9OK4VgxV7GBButqQHRcKCbyl-zuPAbiwGin4Mfp0E-n8GUm_qYVdPgKy7zulSwtQzFqf8uAS4P9ek_bfZzs6-Bl85skivXQiCz5sO4F1k4pVwjNhVyl-SW_DYfkogVBPfa/w313-h417/Riccardo%20Zanellato.jpg" width="313" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVmn_UZc0KnFcroQYN-nk-2lTzT80iMqSiceg_05bnAiR4gUL4k3Ia6BDJGtFmzam_qskPjfAt854ajHeVT4J3Yr5y5M-atg8EWZRjIA5wDe5dHRNtOV7m_1NMQ2y3gr-oT2rAPwnQtNgrPPUiH1AVtMjPjCcOQ5sRMbx--L2MJibtODLt6ytyCqWl/s1024/Stefan%20Pop.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="419" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVmn_UZc0KnFcroQYN-nk-2lTzT80iMqSiceg_05bnAiR4gUL4k3Ia6BDJGtFmzam_qskPjfAt854ajHeVT4J3Yr5y5M-atg8EWZRjIA5wDe5dHRNtOV7m_1NMQ2y3gr-oT2rAPwnQtNgrPPUiH1AVtMjPjCcOQ5sRMbx--L2MJibtODLt6ytyCqWl/w314-h419/Stefan%20Pop.jpg" width="314" /></a></div><p>A contralto <b>Varduhi Abrahamyan</b> tem uma voz perfeita, timbre muito bonito e expressividade fantástica. A <b>Marina Rebeka</b>, já amplamente nossa conhecida, é um colosso. Voz inconfundível, daquelas que sabemos de quem é a voz só de a ouvir, com agudos seguros, transições sem falhas e suaves para os pianos e uma expressividade que o mundo da ópera lhe trouxe e que ela vai “devolvendo” sempre que canta. </p><br /><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijPXReHieUgmRQi46mIrvlWMYLS5c-HBuFex6TmhkvPof_Y3Gg9-JfUlzGdmtooxJClyIG8trjZHQQ3_BkP2Lu0jkLlUvhlfurMWmJr9IImPtsOHdbZB3fVyzgQk75FCch8GSY-APyiiLgbiOGmFy7j_g7te9N14EovHQeeAmfkxUbwpZmIUiAtws5/s1024/Varduhi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="409" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijPXReHieUgmRQi46mIrvlWMYLS5c-HBuFex6TmhkvPof_Y3Gg9-JfUlzGdmtooxJClyIG8trjZHQQ3_BkP2Lu0jkLlUvhlfurMWmJr9IImPtsOHdbZB3fVyzgQk75FCch8GSY-APyiiLgbiOGmFy7j_g7te9N14EovHQeeAmfkxUbwpZmIUiAtws5/w307-h409/Varduhi.jpg" width="307" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEnrEfKBjUXxkfYT60M3bCDJw3yu02tU3gNLMQ2AQUOLgrfNqAfgNqqrg-15YY_bEpcBNIi-qJYequ10s5mzGAhnt6_Hp3kqPQLlgGMb91_4OyiqHConXzxIPi1hdgN__DFM0WOib_uMbUrmUQNVNMW3_IGL8KfN5GeGy4SS7VZFFewSFGOv_qyqjL/s1024/Marina%20Rebeka.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="417" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEnrEfKBjUXxkfYT60M3bCDJw3yu02tU3gNLMQ2AQUOLgrfNqAfgNqqrg-15YY_bEpcBNIi-qJYequ10s5mzGAhnt6_Hp3kqPQLlgGMb91_4OyiqHConXzxIPi1hdgN__DFM0WOib_uMbUrmUQNVNMW3_IGL8KfN5GeGy4SS7VZFFewSFGOv_qyqjL/w313-h417/Marina%20Rebeka.jpg" width="313" /></a></div></div><p>O <i>Lacrymosa</i> foi celestial, com uma harmonia entre todos tão… tão bonita. O <i>Agnus Dei</i>, uma perfeição das vozes femininas e as entradas do coro sem falhas, em uníssono, numa intensidade sonora tão equilibrada, tão celestial.</p><p>Que grande noite! </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7UerjLax_6ruHyYxPMvany22Q8JdxecdNdrwHGb9syjF8Gi8knp6uWijFPE0JXV4IYldZZmZe0uIzNGq9-72Q3kp8S85hkDN_Znfq0QvzI-bNN2waKJ-MN1iNN-VgTZpf2JbYIGGaJyjHHPOf3KsmuSvQ_4KkCJVJCxItY0c_-Sq-T7KrL5U53R3g/s1024/solistas%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7UerjLax_6ruHyYxPMvany22Q8JdxecdNdrwHGb9syjF8Gi8knp6uWijFPE0JXV4IYldZZmZe0uIzNGq9-72Q3kp8S85hkDN_Znfq0QvzI-bNN2waKJ-MN1iNN-VgTZpf2JbYIGGaJyjHHPOf3KsmuSvQ_4KkCJVJCxItY0c_-Sq-T7KrL5U53R3g/w320-h427/solistas%201.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGrPr_JayaYfwf6GeiUqj66Aa6B_Gob1OJuVgbBwDx0qhmPvvQyr6_YTX6HdS8w8RwEq17I5YJ4S1WnVWIK5xdy-OPQkK-ZSI-a55nsWRa8y35ONFkepTzk51aGafnSo14AvgMbiuYpoVXSewaFgIOnRwR1A-xBlF5ScYPOb6s64Fh-BNLWV0NvrVD/s1024/solistas2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGrPr_JayaYfwf6GeiUqj66Aa6B_Gob1OJuVgbBwDx0qhmPvvQyr6_YTX6HdS8w8RwEq17I5YJ4S1WnVWIK5xdy-OPQkK-ZSI-a55nsWRa8y35ONFkepTzk51aGafnSo14AvgMbiuYpoVXSewaFgIOnRwR1A-xBlF5ScYPOb6s64Fh-BNLWV0NvrVD/w319-h425/solistas2.jpg" width="319" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>(<b>Texto de Wagner_fanatic</b>)</p><p><br /></p><p><span style="color: #2b00fe; font-size: large;">REQUIEM, Verdi, Teatro Regio di Parma, September 2022</span></p><p><b>Verdi's Requiem </b>was colossal!!! This is what Verdi is and this is what makes anyone fall in love with this work!</p><p><b>Mariotti </b>is one of my favorite Verdian conductors and today, once again, I could see that his knowledge, his sensitivity, his dedication to Verdi is unique and the result, when you have a phenomenal orchestra and a solid and harmonious choir can only be memorable. The detail to the vocal prompts to the singers, the imprinted dynamics, all fantastic.</p><p>Of the soloists, I just didn't know the alto. The harmony between the 4 individual timbres was perfect, without quality overlaps in perfect homogeneity. <b>Riccardo Zanellato</b> was a solid dramatic rock. <b>Stefan Pop</b> sublime in his pianos at <i>Ingemisco</i> and<i> Hostias</i>, confidence, vocal stability and 100% sincere emotion.</p><p>Contralto <b>Varduhi Abrahamyan </b>has a perfect voice, very beautiful timbre and fantastic expressiveness. <b>Marina Rebeka</b>, already widely known to us, is a colossus. Unmistakable voice, of those we know whose voice it is just by listening to it, with safe highs, flawless and smooth transitions for pianos and an expressiveness that the world of opera brought her and that she “gives back” whenever she sings.</p><p><i>Lacrymosa </i>was heavenly, with a harmony between everyone so… so beautiful. The <i>Agnus Dei</i>, a perfection of the female voices and the flawless choir entries, in unison, in a sound intensity so balanced, so heavenly.</p><p>What a great night!</p><p>(<b>Text by Wagner_fanatic</b>)</p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com4tag:blogger.com,1999:blog-6732274191821624755.post-58690217391066489902022-10-22T12:32:00.002+01:002022-10-22T12:32:11.532+01:00 Gotterdammerung — Staatsoper Berlin - 9.10.2022<p><span style="font-family: "Helvetica Neue"; font-size: 13px;">(Text in English below)</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjabslR1p-tr8hdFGJKM-MTfP2F6-ItFIIR1Ba--8n2IrwLa7xOkMd309wZVYbnQTBWpAItEDhMuCh0u4M9cOgaXWwyio_06NSabwO5ZbVcm9pqDSnWZW3lU5o5LFqL-tRJa9AQPBOEFthjrz83nqDLY1NZET5ixnfC3PmxO8qidyTUWWmxrnFkDdDb/s3361/IMG_0523.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3361" data-original-width="2405" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjabslR1p-tr8hdFGJKM-MTfP2F6-ItFIIR1Ba--8n2IrwLa7xOkMd309wZVYbnQTBWpAItEDhMuCh0u4M9cOgaXWwyio_06NSabwO5ZbVcm9pqDSnWZW3lU5o5LFqL-tRJa9AQPBOEFthjrz83nqDLY1NZET5ixnfC3PmxO8qidyTUWWmxrnFkDdDb/w286-h400/IMG_0523.jpg" width="286" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: "Helvetica Neue"; font-size: 13px;">O Crepúsculo dos Deuses começa no loft com a mesma configuração do de Sieglinde e Hunding. Desta vez, são Brunnhilde e Siegfried que aí estão deitados. Brunnhilde, ao ver três idosas chegarem, levanta-se. As idosas corcundas, lentas e parkinsónicas são as Nornas. Entretanto, para a primeira ronda narrativa, cai o pano onde é projetado o esquema arquitetónico do centro de investigação. Depois da primeira ronda, o pano sobe. Brunnhilde já não está no loft, mas as Nornas vão para lá e bebem chá enquanto fazem a segunda ronda. Quando os inexistentes fios do destino se rompem, Brunnhilde assiste. Aqui não há sequer novelos para as idosas fazerem tricot… Saem as Nornas.</span><p></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Brunnhilde prepara agora o pequeno-almoço de Siegfried e apronta-o para a sua jornada enquanto este, que dormia agarrado ao peluche Grane, toma banho. Muito satisfeito, veste-se enquanto se prepara para sair aos pulinhos e de peluche na mão. Sai.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Voltamos aos cenários horizontais. Quase iguais aos anteriores, mas desta vez com cores frias. Gutrune e Gunther, muito divertidos, bebem. Hagen, alto e com uma mancha vermelha na face (penso que cego de um olho, ao contrário de Wotan…), conta-lhes da existência do herói e da mulher ideais para os irmãos. À porta de uma das salas, surge Siegfried. Vem a pé, sem barco ou cavalo que o transporte porque Tcherniakov não precisa de meios de transporte. Os demais olham-no sorridentes. Acolhem-no e prometem-se fidelidade. O juramento faz-se com sangue, mas não com um corte da Nothung. A coisa é mais primária. Siegfried parte (claro!) um copo de vinho, que o vidro serve igualmente o propósito e a espada estava cansada, para não dizer desaparecida. Gunther, muito infantil, queixoso e espalhafatoso, vê a ferida desinfetada e ligada por uma gentil Gutrune. A poção que faz Siegfried esquecer Brunnhilde era aqui, muito provavelmente, apenas o vinho. Quem não conhece as suas propriedades obliviantes? Essa «poção» pode, aliás, ser partilhada por todos, o que facilita o convívio. Desejosos de conquistar Brunhilde, Gunther e Siegfried partem, sem cavalo visível, barco ou rio Reno.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Hagen fica a guardar as salas. Canta enquanto o cenário sai do palco e Hagen fica no palco vazio. De fora, encostado à parede, está Alberich, hirsuto, apenas de cuecas e muito envelhecido. Caminha parkinsónico, mas sem interagir com Hagen.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Voltamos novamente ao loft. Brunnhilde tenta acabar com a insónia mudando-se para o sofá. Surge Waltraute vestida com uma discreta capa azul. Interagem sem grande acção cénica — estão até bastante distantes — e Waltraute sai, desiludida.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Brunnhilde sente agora a chegada do herói. Siegfried, de voz mais grave, vem na sua habitual forma. Brunnhilde fica assustada por este não a reconhecer. Enquanto o palco vai girando sobre si, dá-se o roubo do anel. Apesar de mencionada a Nothung, esta volta a não aparecer. O anel está na mão de Siegfried e Brunnhilde está humilhada, sendo convidada para se deitar no sofá e a despir o robe (o resto fica subentendido…), ficando em camisa de noite. O pano cai.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">O segundo ato passa-se exclusivamente no conhecido anfiteatro, desta vez cheia de cadeiras laranjas. Hagen, triste, fala sobre si enquanto se descalça e semi adormece deitado sobre as cadeiras. De um esconderijo no topo do anfiteatro sai Alberich, novamente quase nu como no ato anterior. Vem a fazer, parkinsonicamente, tricot! À falta de ouro, aqui a lã não faltava e o novelo era grande. Teve mais sorte do que as Nornas que isto a vida não são só agruras… Fala com Hagen sobre a necessidade de se manter fiel e calça-lhe uma botas de lã. Depois sai pelo esconderijo. Hagen vai sentar-se aí, como que acordado de um sonho, e Alberich retira-lhe as botas através do esconderijo. Afinal, quem estava nu era ele… O propósito das botas e do calça e descalça é desconhecido, mas eu não tenho a criatividade de Tcherniakov. Chega Siegfried que procura, muito alegre, Gutrune. Depois de se reencontrarem, saem ambos. Hagen chama os homens das armas, aqui, como, expectável, distintos investigadores do famoso centro. Reúnem-se em anfiteatro e aí decorre toda a cena da acusação de Brunnhilde. Não há lança alguma sobre a qual se prestem os juramentos, mas não faltavam testemunhas, convenhamos. A lança e o seu simbolismo são dispensáveis… Sai toda a gente, ficando Gunther combalido junto a Brunnhilde e a Hagen. Estes últimos conspiram e urdem a vingança da traição de Siegfried. No fim, o casal Siegfried e Gutrune ainda vêm dançar no anfiteatro perante os olhos dos demais presentes. Uma dança alegre, valha-lhes a felicidade! Acaba o ato.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">O terceiro ato começa na sala de diálise onde o Anel começa. Desta vez com o título «Stress labor» (trabalho sob stress?). Três investigadoras tomam chá, enquanto um divertido Siegfried, equipado desportivamente de verde e com o nome estampado nas costas, se deita na marquesa e tira os ténis. Elas são as filhas do Reno, claro. Não seduzindo o herói a entregar o anel, as investigadoras voltam ao chá e saem, deixando bem sublinhado o fatal destino que espera a Siegfried, este provavelmente sedento, tal foi a sua falta de chá com as senhoras.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">O cenário mexe-se novamente na horizontal e vamos para o pátio central. Desta vez sem a árvore, mas com uma tabela de basquete. Os bancos são agora azuis e tudo se parece a um pavilhão desportivo. Gunther e Hagen, juntamente com os demais caçadores, equipam da mesma forma de Siegfried. Siegfried conta a sua história e não chega a beber da água que Hagen lhe oferece, o que não o impede, ainda assim, de se recordar de Brunnhilde. Não há antídoto para o vinho. Afinal, todos sabemos que os efeitos do vinho não duram assim tanto tempo… Hagen pega num porta estandarte para abater Siegfried, com enorme comoção de Gunther. Não era propriamente uma lança, mas era um objeto que, de algum modo, não deixa de sê-lo e estava à mão. Temos de ser práticos. O efeito, quando se viam os portas estandartes era muito previsível, claro. Com o corpo já moribundo, é o próprio Siegfried quem se leva para a sala anterior (a de diálise e de várias experimentações) onde acaba por sucumbir. Colocado na marquesa onde antes de deitara feliz, inicia-se a marcha fúnebre, aqui transformada numa procissão de gente a chegar consternada: investigadores, Gunther, as Nornas, as filhas do Reno… Até Erda e Wotan se juntam em pesar.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Depois voltamos ao pátio. Gutrune está só e surda para a corneta de Siegfried. Hagen anuncia-lhe a morte do suposto marido para grande desgraça desta. Chegam, de seguida, os demais com uma marquesa funerária — daquelas com rodas — com um Siegfried totalmente coberto. Hagen e Gunther, sob o olhar de Wotan (que aqui não resistiu a cirandar fora de Walhalla), combatem aos murros. Hagen, vitorioso, sai para não mais voltar e Gunther sobrevive sem sequelas. Inesperado? Atendendo ao que se foi vendo, nem por isso! Foi um combate que não ficou para a história, isso é óbvio… Vem Brunhilde que acaba por ficar sozinha com o corpo de Siegfried. Sozinha não, com Wotan e o aparecido peluche Grane, esse poderoso cavalo. O pai Wotan sai quando ela deixa de falar nele. De seguida, ninguém obedece a Brunnhilde. Não há gente, não há pira, não há fogo. Não foi por falta de imaginação, mas por desobediência, creio eu… Ou porque não se brinca com o fogo… Não lhe restando alternativa, Brunnhilde e Grane deitam-se na marquesa funerária por cima do corpo fúnebre de Siegfried.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">O palco fica, entretanto, vazio. Só temos a caixa negra do teatro. Brunnhilde, de mala na mão, parte para uma nova viagem, ao estilo do que sucedeu no fim de Die Walküre. Para espanto de todos, Erda aparece com o desaparecido pássaro mecânico. Tenta entregá-lo a Brunnhilde, mas esta recusa-o. Erda desiste e sai. Tcherniakov doutrina-nos imediatamente sobre a sapiência de Brunnhilde e em como tal lhe permitirá recusar tudo, deixando tudo para trás: os deuses desde logo. Tal foi feito com recurso a um texto seu que faz passar projetado. Cai o pai com o projeto arquitectónico do centro de investigação. Antes de se fechar completamente, Brunnhilde trava-o, o que faz com que a projeção se desfaça. Aí o pano cai completamente. Brunnhilde, à sua frente, observa o vazio até que a música acaba e as luzes se apagam. E lá se acabaram as experiências no centro de investigação. Devemos esperar pelas cenas dos próximos capítulos desta saga?</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-fFck0HCLfEo5TDaY5DS7vLh0bTbBlHnqOoJXhaFQznCI1lcWvvCgcN9ob8sTohKUlDNA2jMhZQ1G-f7wobtEjYkL96IyJMAX06vlqTho6rp4nWO27J3ltiGy_iZuU0kM9BWdrxlHZ1gN1rGM5pxAMFpDMp26OUdC0hSibBwIhqq4KcREZw7ME5XK/s4032/IMG_0564.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1994" data-original-width="4032" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-fFck0HCLfEo5TDaY5DS7vLh0bTbBlHnqOoJXhaFQznCI1lcWvvCgcN9ob8sTohKUlDNA2jMhZQ1G-f7wobtEjYkL96IyJMAX06vlqTho6rp4nWO27J3ltiGy_iZuU0kM9BWdrxlHZ1gN1rGM5pxAMFpDMp26OUdC0hSibBwIhqq4KcREZw7ME5XK/w400-h198/IMG_0564.jpg" width="400" /></a></div><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Finalizado o Anel, não apenas somos doutrinados pelo encenador sobre o significado a retirar do Anel, como vemos a história modificada sem propósito claro. O Anel de Nibelungo foi desmistificado e privado do seu simbolismo. A apresentação foi feia, desinteressante, desfavorável à transmissão de emoções e desligado do texto. Por isso, não deixará saudades e esperemos que os responsáveis do teatro não a reponham além dos dois ciclos já agendados. O encenador, aparecido para os aplausos, levou um booo histórico: foi um uníssono na sala impressionante. Não creio ver uma reação negativa do público tão consensual e expressiva nos próximos anos! Mas foi merecido e tive muito gosto em contribuir! </p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgscnERMLNL_nB6TYYDGCW1IiTF68Xzblm_1T7bGk9SOUz49w7lHnI4i0GgK_vUT2PxE6SFdjw4DE8dwRfe2BBtrSRU8O6rge3V_X5UX6XhHZ_FzVMkmyccmfy2keFPQgHpGQSsekxTPq6RSS7unPtgHhLtGPwK6KAdJCt6A1JZXViSrZ_iN-ypgsJB/s4032/IMG_0531.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1828" data-original-width="4032" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgscnERMLNL_nB6TYYDGCW1IiTF68Xzblm_1T7bGk9SOUz49w7lHnI4i0GgK_vUT2PxE6SFdjw4DE8dwRfe2BBtrSRU8O6rge3V_X5UX6XhHZ_FzVMkmyccmfy2keFPQgHpGQSsekxTPq6RSS7unPtgHhLtGPwK6KAdJCt6A1JZXViSrZ_iN-ypgsJB/w400-h181/IMG_0531.jpg" width="400" /></a></div><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Passando para os cantores e começando pelos melhores. Claro destaque para Schager e Mika Kares como Siegfried e Hagen, respetivamente. Ambos enormes vocalmente! Agudos incríveis, emissão sem falhas e com grande controlo. Transmitiram as emoções que lhes foram pedidas pelo encenador. Até um pouco mais, mas não lhes foi facilitada a tarefa.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">A Brunnhilde de Anja Kampe, uma das grandes estrelas da produção, esteve bem, mas algo irregular. No primeiro ato, bastante estridente, com alguns agudos descontrolados. No segundo, mais contida no volume, mas mais eficaz nos agudos. O terceiro ato foi o mais equilibrado. Sem deslumbrar, cumpriu bem, mas podemos ouvir Brunnhildes melhores.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Violeta Urmana foi Waltraute. Teve uma boa interpretação cénica e vocal, tendo sido capaz de transmitir a sua preocupação sobre o destino dos deuses de forma eficaz.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Lauri Vasar foi um Gunther vocalmente pequeno, convenhamos, nunca se sentindo muito presente, dada uma falta de expressividade vocal evidente que compensava com a cénica. Mandy Fredrich foi uma Gutrune desinteressante, mas vocalmente acertada.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Alberich foi novamente Johannes Martin Kranzle: esteve bem na sua muito curta intervenção. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">As Normas foram Noa Beinart, Kristina Stanek e Anna Samuli: todas estiveram bem e representaram bem o que lhe foi pedido. As Filhas do Reno foram Evelin Novak (Woglinde), Natalia Skrycka (Wellgunde) e Anna Lapkovskaja (Flosshilde) que estiveram igualmente bem.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">O Staatsopernchor também esteve em bom plano, naquela que é a sua única intervenção no Anel de Nibelungo.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">A Staatskapelle Berlin sob direção de Christian Thielemann teve uma nova leitura superlativa da obra: sempre muito clara e emotiva, sem falhas nos tempos e entre os diversos naipes e com um respeito imenso pelos cantores. Foram novamente a estrela maior da produção.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">___________________</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Gotterdammerung</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Twilight of the Gods begins in the loft with the same setting as Sieglinde and Hunding's. This time, it is Brunnhilde and Siegfried who are lying there. Brunnhilde, seeing three elderly women arrive, gets up. The hunchbacked, slow, parkinsonian old women are the Norns. Meanwhile, for the first narrative round, the curtain falls where the architectural scheme of the research centre is projected. After the first round, the curtain rises. Brunnhilde is no longer in the loft, but the Norns go there and drink tea while they do the second round. When the non-existent threads of fate break, Brunnhilde watches. There aren't even any yarns for the old ladies to knit here... out come the Norns.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Brunnhilde now prepares Siegfried's breakfast and gets him ready for his journey while Siegfried, who was asleep clutching his stuffed Grane toy, takes a bath. Very pleased, he gets dressed and gets ready to leave, jumping up and down, teddy bear in hand. He goes out.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">We return to the horizontal scenes. Almost the same as before, but this time with cool colours. Gutrune and Gunther, very amused, drink. Hagen, tall and with a red spot on his face (I think blind in one eye, unlike Wotan...), tells them about the existence of the hero and the ideal woman for the brothers. At the door of one of the rooms, Siegfried appears. He comes on foot, with no boat or horse to transport him because Tcherniakov does not need means of transport. The others look at him smiling. They welcome him and pledge their loyalty. The oath is taken with blood, but not with a cut of the Nothung. The thing is more primal. Siegfried breaks (of course!) a glass of wine, which glass serves the purpose equally, and the sword was tired, not to say missing. Gunther, very childish, whimpering and scatterbrained, sees the wound disinfected and bound by a gentle Gutrune. The potion that makes Siegfried forget Brunnhilde was here, most likely, only wine. Who doesn't know its obliviating properties? That "potion" can, in fact, be shared by all, which makes it easier to get along. Eager to conquer Brunhilde, Gunther and Siegfried set off, without visible horse, boat or Rhine river.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Hagen is left to guard the rooms. He sings as the set leaves the stage and Hagen stands on the empty stage. Outside, leaning against the wall, is Alberich, hirsute, in only his pants and very aged. He walks parkinsonically, but without interacting with Hagen.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">We return again to the loft. Brunnhilde tries to end her insomnia by moving to the sofa. Waltraute appears, dressed in a discreet blue cape. They interact without much stage action - they are even quite far apart - and Waltraute leaves, disappointed.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Brunnhilde now senses the arrival of the hero. Siegfried, in a deeper voice, comes in his usual form. Brunnhilde is startled that he does not recognise her. As the stage is revolving about itself, the theft of the ring takes place. Despite mentioning Nothung, she again fails to appear. The ring is in Siegfried's hand and Brunnhilde is humiliated and invited to lie down on the sofa and take off her dressing gown (the rest is implied...), remaining in her nightdress. The curtain falls.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The second act takes place exclusively in the familiar amphitheatre, this time filled with orange chairs. Hagen, sad, talks about himself as he takes off his shoes and semi-sleeps lying on the chairs. Out of a hiding place at the top of the amphitheatre comes Alberich, again almost naked as in the previous act. He comes doing, parkinsonically, knitting! Lacking gold, here the wool was not lacking and the ball of yarn was large. He was luckier than the Norns that life is not all hardships... He talks to Hagen about the need to stay faithful and puts on wool boots. Then he goes out through the hiding place. Hagen goes to sit there, as if awake from a dream, and Alberich removes his boots through the hiding place. After all, the one who was naked was him... The purpose of the boots and the trousers and barefoot is unknown, but I do not have the creativity of Tcherniakov. Siegfried arrives who is looking, very cheerfully, for Gutrune. After they meet again, they both leave. Hagen calls the men-at-arms, here, as expected, distinguished researchers of the famous centre. They meet in an amphitheatre and there the whole scene of Brunnhilde's accusation takes place. There is no spear on which to take the oaths, but there is no lack of witnesses, let us admit it. The spear and its symbolism are dispensable... Everyone leaves, leaving Gunther weakened next to Brunnhilde and Hagen. The latter plot and plot revenge for Siegfried's treachery. In the end, the couple Siegfried and Gutrune still come to dance in the amphitheatre before the eyes of the others present. A joyful dance, praise be to them! The act ends.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The third act starts in the dialysis room where the Ring begins. This time with the title "Stress labor" (work under stress?). Three female researchers are having tea, while an amused Siegfried, sportily outfitted in green and with his name stamped on the back, lies on the couch and takes off his trainers. They are Rhine's daughters, of course. Failing to entice the hero to hand over the ring, the female investigators return to tea and leave, leaving well underlined the fatal fate that awaits Siegfried, this one probably thirsty, such was his lack of tea with the ladies.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The scene moves horizontally again and we move to the central courtyard. This time without the tree, but with a basketball table. The benches are now blue and everything looks like a sports hall. Gunther and Hagen, together with the other hunters, equip themselves in the same way as Siegfried. Siegfried tells his story and doesn't get to drink from the water Hagen offers him, which still doesn't stop him from remembering Brunnhilde. There is no antidote for the wine. After all, we all know that the effects of wine don't last that long... Hagen takes a standard-bearer to shoot Siegfried down, to Gunther's enormous commotion. It wasn't exactly a spear, but it was an object that somehow doesn't stop being one and was at hand. We have to be practical. The effect, when the standard-bearers were seen, was very predictable, of course. With his body already dying, it is Siegfried himself who is taken to the previous room (that of dialysis and various experiments) where he eventually succumbs. Placed on the table where he had previously lain happily, the funeral march begins, here transformed into a procession of people arriving in dismay: researchers, Gunther, the Norns, the daughters of the Rhine... Even Erda and Wotan join in grief.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Then we return to the courtyard. Gutrune is alone and deaf to Siegfried's bugle. Hagen announces the death of her supposed husband to her great dismay. Then the others arrive with a funerary marquee - the kind with wheels - with Siegfried completely covered. Hagen and Gunther, under the gaze of Wotan (who could not resist circling outside Walhalla), fight with punches. Hagen, victorious, leaves never to return and Gunther survives without after-effects. Unexpected? Considering what we saw, not really! It was a fight that didn't go down in history, that's obvious... Brunhilde comes and ends up alone with Siegfried's body. Not alone, with Wotan and the apparent stuffed Grane, that mighty horse. Father Wotan leaves when she stops talking about him. Next, no one obeys Brunnhilde. There are no people, no pyre, no fire. It was not for lack of imagination, but for disobedience, I believe... Or because one does not play with fire... There being no alternative, Brunnhilde and Grane lie down on the funeral table on top of Siegfried's funeral body.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The stage is, however, empty. All we have is the black box of the theatre. Brunnhilde, suitcase in hand, leaves for a new journey, in the style of what happened at the end of Die Walküre. To everyone's astonishment, Erda turns up with the missing mechanical bird. She tries to give it to Brunnhilde, but Brunnhilde refuses. Erda gives up and leaves. Tcherniakov immediately indoctrinates us about Brunnhilde's wisdom and how this will allow her to refuse everything, leaving everything behind: the gods from the start. This is done with recourse to a text of his that passes for projected. The father falls in with the architectural design of the research centre. Before it closes completely, Brunnhilde brakes it, which causes the projection to fall apart. Then the curtain falls completely. Brunnhilde, in front of her, watches the void until the music ends and the lights go out. And so much for the experiments at the research centre. Should we wait for the scenes of the next chapters of this saga?</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Once the Ring is finished, not only are we indoctrinated by the director about the meaning to be taken from the Ring, but we see history modified without clear purpose. The Ring of Nibelungen was demystified and stripped of its symbolism. The presentation was ugly, uninteresting, unfavourable to conveying emotions and disconnected from the text. Therefore, it will not be missed and let's hope that those in charge of the theatre will not repeat it beyond the two cycles already scheduled. The director, appearing for applause, took a historic booo: it was a unison in the impressive room. I don't think I'll see such a consensual and expressive audience backlash in years to come! But it was well deserved and I was happy to contribute! </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Moving on to the singers and starting with the best ones. Of course I highlight Schager and Mika Kares as Siegfried and Hagen respectively. Both vocally enormous! Incredible highs, flawless emission and great control. They conveyed the emotions that were asked of them by the director. Even a little more, but their task was not made easy.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Anja Kampe's Brunnhilde, one of the big stars of the production, was fine but somewhat uneven. In the first act, quite strident, with some uncontrolled treble. In the second, more restrained in volume, but more effective in the highs. The third act was the most balanced. Without dazzling, it did well, but we can hear better Brunnhildes.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Violeta Urmana was Waltraute. She had a good stage and vocal performance and was able to convey her concern about the fate of the gods effectively.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Lauri Vasar was a vocally small Gunther, admittedly never feeling very present, given an obvious lack of vocal expressiveness that he made up for with the scenic. Mandy Fredrich was an uninteresting but vocally right Gutrune.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Alberich was again Johannes Martin Kranzle: he did well in his very short speech. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Norms were Noa Beinart, Kristina Stanek and Anna Samuli: all were fine and represented well what was asked of them. The Daughters of the Rhine were Evelin Novak (Woglinde), Natalia Skrycka (Wellgunde) and Anna Lapkovskaja (Flosshilde) who were equally good.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Staatsopernchor was also in good form, in what is their only intervention in the Ring of Nibelungen.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Staatskapelle Berlin under the direction of Christian Thielemann gave a new superlative reading of the work: always very clear and emotional, with no gaps in the tempos and between the different suits, and with immense respect for the singers. They were again the major star of the production.</p>camo_operahttp://www.blogger.com/profile/04655818743380132210noreply@blogger.com2tag:blogger.com,1999:blog-6732274191821624755.post-4326040398313634912022-10-20T17:12:00.001+01:002022-10-20T17:12:18.282+01:00 Siegfried — Staatsoper Berlin - 6.10.2022<p><span style="font-family: "Helvetica Neue"; font-size: 13px;">Text in English below)</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEVBf1vcu2L0sYpUN_zHE1rsy1K-e1YM9O93MVaFx386QOyS5fjX8i8iYwvXAhpI7L92hFXNi2ftnzx7GixSmxkQokcCCb-3z7GpmIdLBIM6X3_yY1R58OcKAITnr-guQa7kyzs5WcRuQfJRPbKanXPuwygy9WhMNMuyIwHW7Ych91XlCiSeJcACHj/s3688/IMG_0474.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3688" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEVBf1vcu2L0sYpUN_zHE1rsy1K-e1YM9O93MVaFx386QOyS5fjX8i8iYwvXAhpI7L92hFXNi2ftnzx7GixSmxkQokcCCb-3z7GpmIdLBIM6X3_yY1R58OcKAITnr-guQa7kyzs5WcRuQfJRPbKanXPuwygy9WhMNMuyIwHW7Ych91XlCiSeJcACHj/w328-h400/IMG_0474.jpg" width="328" /></a></div><p></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Na récita de hoje, voltamos, como era de prever, ao «Forschungszentrum», isto é, ao centro de investigação.</p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4kCwHpyqjFmxQbSmrxBPxtOTK-q2Q2fDU57-8u-fJ0qQtYLN6chVVxnLfYmmj1KHfyIuFItIXkl1_MVbiut3F4ADa8qXKIO1KJ7jeM9yF4As_JL4AOLO6Dp9OPfHHAm3XEOychjFrwpNH9IRxL2FZSHfWieGas9FjYj89UmHnO7mpSha-MJI9H4V6/s3635/IMG_0475.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3635" data-original-width="2598" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4kCwHpyqjFmxQbSmrxBPxtOTK-q2Q2fDU57-8u-fJ0qQtYLN6chVVxnLfYmmj1KHfyIuFItIXkl1_MVbiut3F4ADa8qXKIO1KJ7jeM9yF4As_JL4AOLO6Dp9OPfHHAm3XEOychjFrwpNH9IRxL2FZSHfWieGas9FjYj89UmHnO7mpSha-MJI9H4V6/w286-h400/IMG_0475.jpg" width="286" /></a></div><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">O primeiro ato começa, como Tcherniakov nos tem vindo a habituar, com 2 a 3 minutos de nada. Apenas uma tela vazia. Quando sobe o pano, voltamos ao início de Die Walküre: o escritório de Wotan com uma janela opaca. Por detrás, depois de rodado o palco a 180º, o mesmo loft. Desta vez, com uma secretária ao meio onde está Mime sentado. À esquerda, o quarto de Siegfried, todo em peças de lego grandes, revelando a criança que ali habita.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Mime, muito mais velho, fala dos seus problemas e desejos. Entretanto, em vez da bigorna, toca em vários tachos. O problema é que todos tinham sonoridades diferentes. Além disso, Rugamer (o Mime da tarde/noite) falhou os tempos, problema para o qual contribuiu a ausência de baquetas (acho que eram uns garfos ou colheres) e a não colagem dos tachos à bancada… Bigornas à parte, vemos, entretanto, chegar Siegfried, aqui disfarçado de urso pardo e com uma máscara de Wotan, o que não deixou — pelo menos não o transmitiu — Mime particularmente assustado. Siegfried, em fato de treino azul depois de despida a fantasia, fuma vários cigarros e mostra-se zangado com as interpelações de Mime. Acaba por sair novamente, dando lugar a Wotan, francamente envelhecido também, de boina, sem lança e sem capa, mas com os dois olhos (nunca perdeu nenhum…). O diálogo decorre sem nada de especial a assinalar, com exceção do tom jocoso com que Wotan aborda Mime. Sai Wotan e reentra Siegfried. Decidido a forjar a Nothung, Siegfried pega em vários brinquedos que coloca na secretária central. Os dois bocados da Nothung (sim, eram dois bocados) não ficam na mesa, mas não interessa… Siegfried incendeia um peluche e outros brinquedos que representam o forno para a forja — aqui há fogo, ao contrário do que sucedeu no final de Die Walküre… A água onde a Nothung teoricamente é arrefecida, é aqui representada por um extintor químico e um lençol anti-fogo (convenhamos que eram mais prático e representam um avanço científico evidente na extinção destes materiais pirotécnicos). A Nothung — que acaba por nunca aparecer durante todo o processo — não é, pois, martelada. O que é martelado é tudo o que existe no loft: pratos, brinquedos, a secretária. Tudo é destruído, claro! Não há Nothung. Não há jogo de luzes. É tudo nada. Apenas destruição. No fim do ato, ia Siegfried atirar ainda uma cadeira ao óculo do loft, aparece Wotan do outro lado com um ar reprovador, o que permitiu poupar o vidro.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">O segundo ato é uma sequência de experiências. O palco é rotativo e passamos pelas diferentes salas já conhecidas intervaladas por espaços <i>em bruto</i> por onde se passa de sala para sala. Começamos com ecrãs com a mensagem «As experiências começam dentro de 30 minutos». Alberich, de andarilho e de mala na mão, encontra, não por acaso, Wotan, dando-se início à sua «discussão». Wotan, sempre num tom jocoso, dá-lhe uma ajuda com diversos avisos e com a tentativa de engodo ao dragão. O palco, até aí sempre em rotação e com as personagens de sala em sala, pára. Wotan chama o dragão, mas este, sem que nunca apareça, não vai na cantiga de Alberich. A cena tornou-se cómica, não invocando qualquer sentimento de medo. Wotan sai, mas aparece Mime para se confrontar com Alberich.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Quando isto acaba, começa uma série de 6 experiências até ao fim do ato, todas elas nomeadas em alemão (confesso que não decorrei as mensagens, dado que não sei alemão e não foram traduzidas). A primeira seria «Relaxamento», ou algo parecido. Estamos numa sala com um cadeirão ao centro. Siegfried começa a sua meditação sobre as suas origens, a sua aparência e a possibilidade de compreender os pássaros. No meio das experiências, surge uma investigadora com um pássaro mecânico cujas asas se movimentam quando ativadas por um aparelho. Siegfried tenta falar com o pássaro e brinca com ele de forma muito infantil, mas divertida. A investigadora mostra cartazes com instrumentos que Siegfried seleciona. A flauta não resulta, depois parece resultar a corneta que «ativa» a investigadora porque é ela que canta e passa a fazer de pássaro (o que era mecânico desapareceu sem deixar rasto…). Conduzido ao dragão, aparece um Fafner vestido de colete de forças, com açaimo e correntes, trazido por dois enfermeiros, daqueles da pesada, como já fiz referência. Parece um prisioneiro de uma prisão de alta segurança. Aqui, em contraste com outras visões tcherniakovianas, não há brinquedos ou fantasias de dragão. Estamos na quinta experiência (o écran dizia algo como «agressão e reação»). Depois de uns encontrões e de se rebolarem no chão, Siegfried, que antes tentara sufocar Fafner com a corrente, acaba por matá-lo com a Nothung. Acontece que a Nothung é só o punho da espada e não a unificação dos dois bocados em que estava partida. Acontece também que o coração do pretenso dragão se encontra, ao contrário do que Mime garantira, no flanco de Fafner. Mas o homicídio não deixa de consumar-se, que era o que importava afinal. De seguida, com a mesma indiferença e o Tarnhelm no bolso, Mime, que esteve sempre acompanhado do termo que levava a bebida assassina que oferece ao herói, é degolado com o dito punho da Nothung, enquanto, entre as salas, Alberich observa, satisfeito. Lá volta a investigadora a fazer as vezes de pássaro e Siegfried, com entusiasmo, vai em busca de Brunnhilde.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">No terceiro ato, voltamos aos cenários a mudar na horizontal como em Das Rheingold. Começamos numa sala que foi transformada no refeitório dos investigadores. Wotan, francamente insatisfeito, põe tudo no olho da rua. Quem acorre à cena é Erda com o fato azul de Das Rheingold. Apesar de ser recebida com a aura de prémio Nobel e de lhe ser servido chá enquanto canta sentada, rapidamente Wotan se torna agressivo: vai de empurrões, a puxões, passando pelas mãos no pescoço, até que a expulsa da sala, isto enquanto vai bebendo algum álcool, o que terá ajudado a este comportamento… Nada místico, nem tampouco consonante com a cortesia com que se devem tratar cientistas… Expulsa Erda, chega Siegfried, sempre muito fanfarão. O diálogo entre ele e Wotan decorre com sobranceria. No final, inesperadamente, dado que até aqui não havia memória visual de qualquer lança, Wotan retira uma lança — muito banal, em abono da verdade — do armário das bebidas do seu escritório. Siegfried, tendo a saída dessa sala bloqueada e sem que a Nothung se faça ver, parte a porta (tinha de ser!) e sai. Nesse instante, Wotan, ele próprio, parte a laça ao meio e Siegfried segue a sua aventura.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Voltamos à sala onde tudo começou. Agora só tem uma marquesa e uma inscrição que creio que dizia «Laboratório de linguagem». Wotan leva Brunnhilde até lá, estando os dois muito cúmplices. Brunnhilde desenha, como o marcador de Die Walküre, umas chamas nos vidros e exibe um cavalo de peluche que faz de Grane. Tudo naquele jeito infantil a que Brunnhilde nos habituou e Siegfried imitou. Wotan cobre-a com um lençol daqueles que vemos nas cenas de catástrofe que ajudam a aquecer os feridos. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Sai Wotan e entra Siegfried sem dificuldade nenhuma, porque o fogo aqui é a brincar. Não usa a Nothung para tirar a armadura ou o escudo de Brunnhilde, porque estes não existem (Brunnhilde acaba por desenhá-los mais tarde, quando a eles se refere). Mas senta-se aos pés da marquesa e puxa, muito divertido, o referido lençol. Ao ver que é uma mulher, invoca a mãe num jeito histérico com os braços estendidos no ar enquanto abana as mãos num jeito de «oh! Meu Deus!» que despertou umas risotas no público. Depois de acordar Brunnhilde com o menos infantil beijo nos lábios, esta canta sentada na marquesa, estando os dois satisfeitos. A satisfação de Brunnhilde cessa quando é tocada ao de leve: aqui sai do cubo de vidro e os dois acabam por mudar para aquela espécie de entrada/pátio interior com o freixo no meio, cenário já descrito em Das Rheingold, não sem antes receber uns valentes apalpões. O dueto ocorre de seguida com cada um no seu lado, aqui com muito decoro. No fim, com Wotan a assistir, tocam-se novamente ao de leve e saem aos pulinhos, terminando a ópera Siegfried. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Talvez por ser um centro de investigação, logo muito científico, Tcherniakov continua a privar-nos de qualquer misticismo, transcendência ou simbolismo. Tudo é terreno, básico, agressivo e, constrastemente, infantil e cómico.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Para contrariar, os cantores estiveram em melhor plano, ainda que, no meu ver, limitados pelo encenador.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Stephan Rugamer fez um Mime em excelente forma vocal, cheio de tiques e maneirismos, como é suposto a esta personagem, transmitindo a sua maldade e ganância. Johannes Martin Kranzle faz o mesmo com a personagem Alberich, apresentando-se vocal e cenicamente em boa forma, até melhor do que em Das Rheingold. A Erda de Anna Kissjudit, aqui reduzida a uma mortal, ficou banalizada cenicamente, mesmo muito diminuída, o que se refletiu na performance vocal que, sendo adequada e sem falhas, também não deslumbrou nem pela potência, nem pela emoção. O Fafner de Peter Rose, também limitado pelo colete de forças, esteve novamente algo monótono vocalmente. Victoria Randem foi Der Waldvogel: tem um timbre muito bonito e cristalino e cantou a suas passagens de forma harmoniosa e luminosa, ainda que com um alemão sofrível. Wotan, que tem aqui a sua última aparição no Anel, foi, mais uma vez, excelentemente interpretado pela lindíssima voz de Michael Volle: sempre com uma emissão impecável, um timbre adequadíssimo ao papel e com uns agudos fáceis sobre a orquestra. Nunca falha em papéis de vilão. A Brunnhilde de Anna Kampe, ainda que tenha entrado com alguma dificuldade nalgumas passagens que não saíam tão facilmente e com uns agudos mais estridentes, melhorou sobretudo depois de se bem acordada com a palpação vigorosa de Siegfried. Aí a voz soltou-se e teve uma excelente interpretação, não fosse ela uma soprano wagneriana muito experiente. A última palavra para o homem da noite: Andreas Schager. Foi um Siegfried extraordinário porque é o protótipo do heldentenor: voz enorme, agudos facílimos (o último tão fácil quanto o primeiro) e uma forte presença física. Não creio que haja melhor nos dias de hoje. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBG6hL8fcKCKRuaA1ej07euYkesebHepoiXI9Vj7pGsTkQUz3o4oYvDOsJhcMsKoNSprqLjlqSo0pI7qAXW-WPZAGtyPCa9_UZKivbZYggsLoNOPCkInz03-FG0lLbT6pvk9NSnG0o4iWwkXS00sZqLeuIacpAuN5qDFFiVFR2zLb5tKvMcNA1siKs/s4032/IMG_0518.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2418" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBG6hL8fcKCKRuaA1ej07euYkesebHepoiXI9Vj7pGsTkQUz3o4oYvDOsJhcMsKoNSprqLjlqSo0pI7qAXW-WPZAGtyPCa9_UZKivbZYggsLoNOPCkInz03-FG0lLbT6pvk9NSnG0o4iWwkXS00sZqLeuIacpAuN5qDFFiVFR2zLb5tKvMcNA1siKs/w400-h240/IMG_0518.jpg" width="400" /></a></div><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">A Staatskapelle Berlin sob direção de Christian Thielemann voltou novamente a ser a estrela mais cintilante nesta produção. A leitura de Thielemann é muito cuidada, cheia de nuances subtis, muito cristalina, auxiliado por músicos de primeira nos sopros, e com um respeito imenso pelos cantores. Será aquilo de que verdadeiramente me irei recordar deste Anel.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Só falta o Crepúsculo dos Deuses: não o vamos ver porque Tcherniakov já os matou, mas esperamos ouvi-los!</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Siefried</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">In today's récit, we return, as expected, to the "Forschungszentrum", i.e. the research centre.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The first act begins, as Tcherniakov has been accustoming us to, with 2-3 minutes of nothing. Just an empty screen. When the curtain rises, we return to the beginning of Die Walküre: Wotan's office with an opaque window. Behind it, after the stage has been turned 180º, the same loft. This time, with a desk in the middle where Mime is sitting. To the left, Siegfried's room, all in large lego pieces, revealing the child who lives there.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Mime, much older, talks about his problems and desires. Meanwhile, instead of the anvil, he touches several pots. The problem is that they all had different sounds. Moreover, Rugamer (the Mime of the afternoon/evening) missed the tempos, a problem to which contributed the absence of drumsticks (I think they were some forks or spoons) and the non-gluing of the pots to the bench... Anvils aside, we see, meanwhile, Siegfried arriving, here disguised as a grizzly bear and wearing a Wotan mask, which did not - at least did not convey it - make Mime particularly frightened. Siegfried, in a blue tracksuit after taking off his costume, smokes several cigarettes and shows anger at Mime's interpellations. Eventually he leaves again, giving way to Wotan, frankly aged too, wearing a beret, no spear and no cape, but with both eyes (he never lost any...). The dialogue takes place without anything special to point out, except for the jocular tone with which Wotan approaches Mime. Wotan leaves and Siegfried reenters. Determined to forge the Nothung, Siegfried takes several toys, which he places on the central desk. The two pieces of Nothung (yes, they were two pieces) don't stay on the table, but it doesn't matter... Siegfried sets fire to a teddy bear and other toys which represent the oven for the forge - here there is fire, unlike what happened at the end of Die Walküre... The water where Nothung is theoretically cooled is represented here by a chemical extinguisher and an anti-fire sheet (let's agree that they were more practical and represent an evident scientific advance in the extinction of these pyrotechnic materials). Nothung - who ultimately never appears during the entire process - is therefore not hammered. What is hammered is everything in the loft: dishes, toys, the desk. Everything is destroyed, of course! There is no Nothung. There is no play of light. It's all nothing. Just destruction. At the end of the act, was Siegfried going to throw yet a chair at the loft's peephole, Wotan appears on the other side with a disapproving look, which allowed the glass to be saved.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The second act is a sequence of experiments. The stage is rotating and we pass through the different rooms already known to us interspersed by raw spaces through which we pass from room to room. We start with screens with the message "Experiments begin in 30 minutes". Alberich, walking around with suitcase in hand, meets, not by chance, Wotan, and their "discussion" begins. Wotan, always in a jocular tone, helps him with various warnings and the attempt to bait the dragon. The stage, until then always in rotation and with the characters moving from room to room, stops. Wotan calls the dragon, but the dragon, never appearing, does not go along with Alberich's song. The scene has become comical, invoking no sense of fear. Wotan leaves, but Mime appears to confront Alberich.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">When this is over, a series of 6 experiences begins until the end of the act, all named in German (I confess I didn't memorise the messages, given that I don't know German and they weren't translated). The first would be "Relaxation", or something like that. We are in a room with an armchair in the centre. Siegfried begins his meditation on his origins, his appearance and the possibility of understanding birds. In the middle of his experiments, a researcher appears with a mechanical bird whose wings move when activated by a device. Siegfried tries to talk to the bird and plays with it in a very childish but amusing way. The researcher shows posters with instruments that Siegfried selects. The flute doesn't work, then the horn seems to work and "activates" the researcher because it is she who sings and starts playing the bird (the mechanical one disappeared without a trace...). Led to the dragon, a Fafner appears dressed in a straitjacket, with muzzle and chains, brought by two nurses, those heavy duty ones, as I have already mentioned. He looks like a prisoner in a high-security prison. Here, in contrast to other Cherniakovian visions, there are no toys or dragon costumes. We are in the fifth experience (the screen said something like "aggression and reaction"). After a few bumps and rolling around on the floor, Siegfried, who had earlier tried to choke Fafner with the chain, ends up killing him with the Nothung. It turns out that the Nothung is just the hilt of the sword and not the unification of the two pieces it was broken into. It also turns out that the heart of the would-be dragon is, contrary to what Mime had assured, in Fafner's flank. But the murder does not fail, which was what mattered after all. Then, with the same indifference and the Tarnhelm in his pocket, Mime, who was always accompanied by the term that carried the murderous drink he offered the hero, is beheaded with the said Nothung's fist, while, between the rooms, Alberich watches, satisfied. There the investigator returns to do the bird's turn, and Siegfried, with enthusiasm, goes in search of Brunnhilde.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">In the third act, we return to the scenes changing horizontally as in Das Rheingold. We start in a room that has been transformed into the investigators' mess hall. Wotan, frankly dissatisfied, throws everything out. Erda, wearing the blue suit from Das Rheingold, arrives on the scene. Although she is received with the aura of a Nobel prize-winner and served tea while she sings in her seat, Wotan quickly becomes aggressive: he starts pushing and shoving her, then pulling her, then putting his hands on her neck, until he throws her out of the room, all the while drinking some alcohol, which may have helped this behaviour... Nothing mystical, nor in accordance with the courtesy with which scientists should be treated... When Erda is thrown out, Siegfried arrives, always a big fan. The dialogue between him and Wotan takes place with sobriety. At the end, unexpectedly, since up to this point there was no visual memory of any spear, Wotan takes a spear - very trivial, in truth - from the drinks cabinet in his office. Siegfried, having the exit of that room blocked and without Nothung being visible, breaks the door (he had to!) and leaves. At that moment, Wotan, himself, breaks the lasso in half and Siegfried continues his adventure.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">We return to the room where it all began. It now has only a marquise and an inscription that I believe said "Language Laboratory". Wotan leads Brunnhilde there, the two of them being very complicit. Brunnhilde draws, like the bookmark of Die Walküre, some flames on the glass and shows a stuffed horse that plays Grane. All in that childlike manner to which Brunnhilde has accustomed us and Siegfried has imitated. Wotan covers her with a sheet of those we see at disaster scenes that help warm the wounded. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Wotan leaves and Siegfried enters without any difficulty, because the fire here is a joke. He doesn't use Nothung to take off Brunnhilde's armour or shield, because these don't exist (Brunnhilde ends up drawing them later when referring to them). But he sits down at the marquise's feet and pulls, very amused, the aforementioned sheet. Seeing that it is a woman, she invokes her mother in a hysterical manner with her arms stretched in the air while waving her hands in an "oh! My God!" manner that elicited some giggles from the audience. After waking Brunnhilde with the least childish kiss on the lips, Brunnhilde sings while sitting on the table, the two of them being satisfied. Brunnhilde's satisfaction ceases when she is touched lightly: here she comes out of the glass cube and the two end up moving to that sort of inner entrance/patio with the ash tree in the middle, a scene already described in Das Rheingold, not without first getting a good feel for it. The duet occurs next with each one on his side, here with a lot of decorum. At the end, with Wotan watching, they touch each other lightly again and leave, jumping up and down, ending the Siegfried opera. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Perhaps because it is a research centre, and therefore very scientific, Cherniakov continues to deprive us of any mysticism, transcendence or symbolism. Everything is earthy, basic, aggressive and, embarrassingly, childish and comic.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">To counteract this, the singers were on better plan, albeit, in my view, limited by the director.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Stephan Rugamer made a Mime in excellent vocal form, full of tics and mannerisms, as is supposed to this character, conveying his malice and greed. Johannes Martin Kranzle does the same with the character Alberich, performing vocally and scenically in good form, even better than in Das Rheingold. Anna Kissjudit's Erda, here reduced to a mortal, was trivialised scenically, even greatly diminished, and this was reflected in the vocal performance which, while adequate and faultless, also did not dazzle either for power or emotion. Peter Rose's Fafner, also constrained by the straitjacket, was again somewhat dull vocally. Victoria Randem was Der Waldvogel: she has a very beautiful, crystal clear timbre and sang her passages harmoniously and luminously, albeit with a sufferable German. Wotan, who has his final appearance in The Ring here, was once again excellently played by the gorgeous voice of Michael Volle: always with impeccable emission, a timbre well suited to the role and with some easy highs over the orchestra. He never fails in villainous roles. Anna Kampe's Brunnhilde, although she entered with some difficulty in some passages that did not come out so easily and with a more strident treble, improved especially after she was woken up with Siegfried's vigorous palpation. There the voice loosened up and she had an excellent interpretation, were she not a very experienced Wagnerian soprano. The last word to the man of the evening: Andreas Schager. He was an extraordinary Siegfried because he is the prototype of the heldentenor: huge voice, easy treble (the last as easy as the first) and a strong physical presence. I don't think there is a better one today. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Staatskapelle Berlin under the direction of Christian Thielemann was again the shining star in this production. Thielemann's reading is very careful, full of subtle nuances, very crystalline, assisted by first-rate musicians on woodwinds, and with immense respect for the singers. It will be what I will truly remember of this Ring.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The only thing missing is Twilight of the Gods: we won't see it because Cherniakov has already killed them, but we hope to hear it!</p>camo_operahttp://www.blogger.com/profile/04655818743380132210noreply@blogger.com0tag:blogger.com,1999:blog-6732274191821624755.post-70135502927731655672022-10-18T15:15:00.002+01:002022-10-18T15:15:21.892+01:00 Die Walküre - Staatsoper Berlin - 3.10.2022<p><span style="font-family: "Helvetica Neue"; font-size: 13px;">(Text in English below)</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOmip59jGwaKM-tBfaBG2JksHIu7ZT1Mu4w1eAwhlWNkAh-WhG78f6LpbmrwLlwD9Fc_bcLmFyQt1STzBNwTSuZu1bHXmdgYsgJClZPfmQG-ezBIikdq52UNWdvvqqRQJjU4pRpKiWw-GRwa5iuNN89CBCIDw9csRO2lS14mLShHphxIQbwVgCGq8J/s4032/IMG_0430.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOmip59jGwaKM-tBfaBG2JksHIu7ZT1Mu4w1eAwhlWNkAh-WhG78f6LpbmrwLlwD9Fc_bcLmFyQt1STzBNwTSuZu1bHXmdgYsgJClZPfmQG-ezBIikdq52UNWdvvqqRQJjU4pRpKiWw-GRwa5iuNN89CBCIDw9csRO2lS14mLShHphxIQbwVgCGq8J/w300-h400/IMG_0430.jpg" width="300" /></a></div><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Como seria de esperar, a interpretação de Tcherniakov de Die Walküre esteve qualitativamente em linha com Das Rheingold. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">A ópera inicia-se com um pano em baixo sem qualquer projeção ou ação, perdendo-se a hipótese de representar a tempestade que Wagner tão bem recriou musicalmente. De repente, ao fim de uns 2 minutos, projetam imagens televisivas que diziam “Kriminal Report” com flashes de cenas criminais de rua e, posteriormente, com de video-vigilância. Nelas aparecem aquele que vem a ser Siegmund, aqui levado por dois polícias já na prisão. Tem uma madeixa branca no cabelo, o que é um sinal de que é filho de Wotan, pois este também tem uma madeixa branca no cabelo grisalho. Subido o pano, ainda há tempo para aparecer Wotan no seu escritório.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">De seguida, o cenário roda 180º e passa a ser um loft/T1 básico onde encontramos Sieglinde sozinha. Chegado Siegmund, esta não mostra grande admiração e este parece estranho e desconfiado. Aparecido Hunding — aqui um polícia bem fardado com ares de chefe — o clima adensa-se: Sieglinde senta-se no seu colo para o apaziguar, enquanto este lhe abre o decote e expõe o sutiã (bem apropriado à presença do convidado…), a que se seguem diversas ameaças com pistola e loiças deitadas ao chão. Quando Hunding raivoso pede a bebida para dormir, Sieglinde acorre a prepará-la, ficando indecisa quanto às quantidades a deitar do pó soporífero, o que gerou alguns risinhos no público (o que idealmente seria incongruente com todo o ambiente esperado…). Hunding despe-se, ficando de camisola e calções, e deita-se, sendo seguido por Sieglinde. Antes algemara Siegmund, assim tendo mais um motivo para cantar os seus infortúnios. Quando soa o tema da espada, as luzes tornam-se mais brilhantes e parece haver algo espetado na parede (mas esse algo não está iluminado). Esse algo vem mesmo a ser a toda-poderosa espada Nothung. Sieglinde e Siegmund, entretanto reunidos pela paixão e pelo incesto, mas muito apressados, enfiam as roupas dela num saco e fogem, terminando o primeiro ato.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">O segundo ato começa com uma recordação dessa fuga para que, no mesmo loft, logo apareçam Brunnhilde e Wotan, visivelmente cúmplices e satisfeitos, o que mereceu um festivo brinde com champanhe. Advertido da chegada de carroça (não há meios de transporte nesta encenação, devo dizer) de Fricka, o cenário mantém-se. Sai Brunnhilde e entra Fricka. Tão só! Entre o loft e o escritório (cujo vidro opaco escondia, afinal, o loft), uma Fricka histriónica convence Wotan de que os tratados são para cumprir e que a sua honra merece a morte de Siegmund. Ao mesmo tempo, voam dossiers da mesa para o chão, o que permite criar espaço para os contratos que a Fricka faz Wotan assinar. Regojizante, lança ares de desafio a Brunnhilde que entretanto voltara. Fricka sai, deixando-os a sós novamente. Wotan, preocupado e triste, conta as suas agruras a Brunnhilde sentado à porta do loft. Quando é posta em causa a sua autoridade, lá voam umas cadeiras, como não podia deixar de ser, não fosse Tcherniakov apreciador de atos clásticos. Entretanto, voltamos a Sieglinde e Siegmund: estamos novamente com as jaulas com coelhos de Das Rheingold, recordam-se? Sieglinde está sempre aflita e sem forças e acabam por ir parar ao cenários das cabines onde Alberich cacetou Mime. Brunnhilde surge para explicar o destino a Siegmund. Já sabemos que quem acaba convencida é Brunnhilde, que decide contrariar as ordens de Wotan. Fora do cenário, sem que se vejam (às escondidas?) dá-se o confronto de Hunding com Siegmund, confronto interferido por Wotan. Brunnhilde foge com Sieglinde e o loft dá lugar à caixa vazia do teatro. No vazio escuro, estão os três homens vivos e sem vislumbre de ferimento nem da longa lança dos tratados de Wotan (que essa é só do libreto e referida no canto). Wotan manda Hunding sair e este obedece, sem ripostar. E tudo termina com Siegmund a ser levado por uns polícias do corpo de intervenção. Daqueles da pesada que dão cacetadas e tudo. Finda o segundo ato.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">A cavalgada das Valquírias é o icónico início do terceiro ato. Aqui não há cavalos (claro!), mas o conhecido anfiteatro. Chegam lá quatro Valquírias e projeta-se numa tela a mensagem «Antes da entrega do relatório sobre violência». As Valquírias lá vão chegando todas enquanto se cumprimentam com um jovial ‘dá cá mais cinco!’… Só Brunnhilde não é recebida assim. Não merece, como sabemos. Traz uma debilitada Siegelinde que constantemente se atira para o chão, só recuperando quando lhe é anunciado o herói que traz no ventre. Quando Brunnhilde a leva embora, volta Wotan com Sieglinde pela mão, ficando esta arrumada a um canto, não participando em nada, nem sendo investida pela ira de ninguém. Entretanto, Brunnhilde senta-se numa das últimas cadeiras do anfiteatro, bem à vista de todos, enquanto Wotan, muito insatisfeito (sim, houve cadeiras e até um isqueiro a ri pelos ares!), insta as Valquírias a denunciar o seu paradeiro… Quando Brunnhilde desce até Wotan saem as Valquírias, encarregando-se Gerhilde de levar consigo Sieglinde (que não mais aparece, vá lá!).</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Aqui começa o dueto de Wotan e Brunnhilde. Wotan nervoso, acende cigarros e dá mesmo umas passas. Vão formando um círculo de cadeiras enquanto se revê o castigo a dar a Brunnhilde. Wotan já está mais suavizado e até colinho acaba por dar. Estão ambos muito tristes o tempo todo, mas algo estáticos. Brunnhilde sobe a uma das cadeiras do círculo e Wotan chama Loge. Brunnhilde, muito infantil e perante a desfeita de Loge que não aparece, sai do círculo, pega num marcador laranja e — imagine-se! — desenha umas chamas nas costas das cadeiras para divertimento próprio e do seu pai babado. Com o fogo não se brinca, costuma dizer-se… No fim, Brunnhilde pega numa mochila e sai do anfiteatro, dando a mão ao pai que nele permanece. O enlace das mãos perde-se com o afastamento da secção Anfiteatro que recua no palco. E a música vai-se desenrolando até ao finda enquanto pai e filha se afastam, olhando-se lugubremente. Brunnhilde, aqui nada adormecida, está preparada para uma viagem. E assim termina Die Walküre. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Não me parece que precisem de comentários sobre a encenação, dado que a descrição é exaustiva…</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Relativamente aos cantores, uma vez mais, não veiculam a emoção esperada porque, no meu ver, Tcherniakov não permite. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Individualizando. Robert Watson foi um Siegmund sem presença vocal e com vários problemas na emissão que foi irregular, sobretudo no registo médio, o que fez com que o público o brindasse muitos boos. Foi de tal modo exagerado que deu pena ver o semblante triste e carregado com que ficou e a necessidade de muitos “cheer up” dos colegas. Não se faz!</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Vida Mikneviciutè foi uma Sieglinde vocalmente espetacular. Voz enorme, brilhante, sempre sobre a orquestra e com um timbre muito bonito. Para mim, o destaque da tarde/noite. E um evidente contraste com Watson.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Hunding foi interpretado por Mika Kares que já tinha sido um excelente Falsot e que aqui, uma vez mais, não defraudou o exigente público de Berlim.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">A Fricka de Claudia Manke esteve hoje vocalmente melhor do que em Das Rheingold, muito embora não seja uma mezzo deslumbrante, nem uma Fricka memorável.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">De todas as Valquírias, claro destaque para Clara Nadeshdin que fez uma Gerhilde fantástica: que voz imensa!</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Termino com o duo Wotan/Brunnhilde. Michael Volle foi, novamente, um Wotan vocalmente em grande forma e cenicamente limitado, o que o impede de ser um Wotan que me vá recordar. Já Anja Kampe foi uma Brunnhilde competente, mas creio que, tendo estado sempre em bom plano, está a aquecer para as duas récitas finais.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">A Staatskapelle Berlin sob direção de Christian Thielemann foi novamente fantástica e quase irrepreensível. Estão a ser, claramente, as grandes estrelas desta produção. Vai para eles o meu Bravo! Que assim continuem! </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">_________________</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Die Walküre</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">As one would expect, Tcherniakov's interpretation of Die Walküre was qualitatively in line with Das Rheingold. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The opera begins with a curtain below without any projection or action, missing the chance to depict the storm that Wagner recreated so well musically. Suddenly, after about two minutes, television images are projected saying "Kriminal Report" with flashes of criminal street scenes and, later, with video surveillance. In them appears the one who turns out to be Siegmund, here taken by two policemen already in prison. He has a white streak in his hair, which is a sign that he is Wotan's son, for Wotan also has a white streak in his grey hair. Once the curtain rises, there is still time for Wotan to appear in his office.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Next, the scene turns 180º and becomes a basic loft/T1 where we find Sieglinde alone. When Siegmund arrives, she doesn't show much admiration and he seems strange and suspicious. When Hunding appears - here a well-uniformed policeman who looks like a boss - the atmosphere thickens: Sieglinde sits on his lap to appease him, while he opens her cleavage and exposes her bra (very appropriate to the presence of the guest...), which is followed by several threats with a pistol and crockery thrown on the floor. When Hunding angrily asks for the drink to sleep, Sieglinde wakes up to prepare it, being indecisive about the quantities to pour the sleeping powder, which generates a few giggles in the audience (which ideally would be incongruous with the whole expected atmosphere...). Hunding undresses, wearing a shirt and shorts, and lies down, followed by Sieglinde. Earlier he had handcuffed Siegmund, thus having one more reason to sing of his misfortunes. When the sword theme sounds, the lights become brighter and there seems to be something sticking out of the wall (but that something is not illuminated). That something turns out to be the all-powerful sword Nothung. Sieglinde and Siegmund, meanwhile brought together by passion and incest, but too hastily, stuff her clothes into a sack and flee, ending the first act.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The second act begins with a recollection of this escape so that, in the same loft, Brunnhilde and Wotan soon appear, visibly complicit and satisfied, which merited a festive champagne toast. Warned of Fricka's arrival by wagon (there are no means of transport in this staging, I must say), the scene is maintained. Out comes Brunnhilde and in comes Fricka. So alone! Between the loft and the office (whose opaque glass hid the loft, after all), a histrionic Fricka convinces Wotan that treaties are to be kept and that his honour deserves Siegmund's death. At the same time, dossiers fly off the table onto the floor, making room for the contracts Fricka makes Wotan sign. Gloating, he throws looks of defiance at Brunnhilde who had meanwhile returned. Fricka leaves, leaving them alone again. Wotan, worried and sad, tells Brunnhilde about his woes sitting outside the loft. When his authority is questioned, a few chairs fly out of the door, as one might expect, since Cherniakov is a lover of clastic acts. Meanwhile, we return to Sieglinde and Siegmund: we're back with the rabbit cages of Das Rheingold, remember? Sieglinde is always distressed and powerless and they end up in the cabin scenarios where Alberich has cackled Mime. Brunnhilde appears to explain her fate to Siegmund. We already know that the one who ends up convinced is Brunnhilde, who decides to go against Wotan's orders. Outside the scene, without being seen (on the sly?), Hunding and Siegmund confront each other, a confrontation interfered by Wotan. Brunnhilde flees with Sieglinde and the loft gives way to the empty theatre box. In the dark void are the three men alive and without a glimpse of injury or the long spear of Wotan's treatises (that one is only from the libretto and mentioned in the corner). Wotan orders Hunding to leave and he obeys, without fighting back. And it all ends with Siegmund being taken away by some policemen from the riot squad. Those heavy-handed ones who beat him up and everything. The second act is over.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Ride of the Valkyries is the iconic start of the third act. Here there are no horses (of course!), but the well-known amphitheatre. Four Valkyries arrive there and the message "Before the report on violence" is projected on a screen. The Valkyries all arrive there while greeting each other with a jovial 'high-five'... Only Brunnhilde is not received like that. She doesn't deserve it, as we know. She brings a weakened Siegelinde who constantly throws herself to the ground, only recovering when the hero she carries in her womb is announced. When Brunnhilde takes her away, Wotan returns with Sieglinde by the hand, leaving her tidily in a corner, taking no part in anything, nor being invested by anyone's wrath. Meanwhile, Brunnhilde sits down on one of the last chairs in the amphitheatre, in full view of everyone, while Wotan, very dissatisfied (yes, there were chairs and even a lighter laughing in the air!), urges the Valkyries to report her whereabouts... When Brunnhilde goes down to Wotan the Valkyries come out, with Gerhilde taking Sieglinde with her (who no longer appears, come on!).</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Here begins Wotan and Brunnhilde's duet. Wotan nervously lights cigarettes and even takes a few puffs. They form a circle of chairs as they review the punishment to be given to Brunnhilde. Wotan is more relaxed and even gives her a cuddle. They are both very sad all the time, but somewhat static. Brunnhilde climbs onto one of the chairs in the circle and Wotan calls Loge. Brunnhilde, very childish and at Loge's snub, who doesn't show up, leaves the circle, takes an orange marker and - imagine that! - draws some flames on the backs of the chairs for her own amusement and that of her drooling father. At the end, Brunnhilde takes a rucksack and leaves the amphitheatre, holding hands with her father who remains in the theatre. The linking of hands is lost as the amphitheatre section retreats on stage. And the music winds to a halt as father and daughter walk away, looking at each other lugubriously. Brunnhilde, here not at all asleep, is prepared for a journey. And so Die Walküre ends. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">I don't think you need any comments on the staging, since the description is exhaustive...</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">As regards the singers, once again they do not convey the expected emotion because, in my view, Cherniakov does not allow it. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Individualising. Robert Watson was a Siegmund without vocal presence and with several problems in the emission that was irregular, especially in the middle register, which caused the audience to toast him many boos. It was so over the top that it was a shame to see the sad, heavy countenance he was left with and the need for lots of "cheer up" from his colleagues. It can't be done!</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Vida Mikneviciutè was a vocally spectacular Sieglinde. Huge, brilliant voice, always over the orchestra and with a very beautiful timbre. For me, the highlight of the afternoon/evening. And an obvious contrast to Watson.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Hunding was played by Mika Kares who had already been an excellent Falsot and who here, once again, did not disappoint the demanding Berlin audience.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Claudia Manke's Fricka was vocally better today than in Das Rheingold, though not a stunning mezzo, nor a memorable Fricka.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Of all the Valkyries, of course the highlight is Clara Nadeshdin who made a fantastic Gerhilde: what a huge voice!</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">I finish with the Wotan/Brunnhilde duo. Michael Volle was, again, a Wotan vocally in great shape and scenically limited, which prevents him from being a Wotan that I will remember. Anja Kampe, meanwhile, was a competent Brunnhilde, but I think, having been consistently on top form, is warming up for the final two recitatives.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Staatskapelle Berlin under Christian Thielemann was again fantastic and almost faultless. They are clearly being the big stars of this production. Bravo to them! May they keep it up! </p>camo_operahttp://www.blogger.com/profile/04655818743380132210noreply@blogger.com1tag:blogger.com,1999:blog-6732274191821624755.post-212223307131744002022-10-16T08:27:00.002+01:002022-10-16T08:27:49.281+01:00 Das Rheingold — Staatsoper Berlin — 2.10.2022<p><span style="font-family: "Helvetica Neue"; font-size: 13px;">Text in English below)</span></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXe-2Qw1aCcBaTJkY4xV1g5pFem2OZtGVRtwyLwQo3s6JuTBBzpSFSk6J19sdP1iBYxmR2mV9dpMaKzsw_MD_i0gviSFDiHeg3-D4i_fWYm1r9S0mJxTINqYAtzmQw5c6v1xMwr73QXqzrWCnGMlnYFQ6Xx-ACm_hv0CUjF-nS92qKmqO2jodUkuiq/s3751/IMG_0398.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3751" data-original-width="2710" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXe-2Qw1aCcBaTJkY4xV1g5pFem2OZtGVRtwyLwQo3s6JuTBBzpSFSk6J19sdP1iBYxmR2mV9dpMaKzsw_MD_i0gviSFDiHeg3-D4i_fWYm1r9S0mJxTINqYAtzmQw5c6v1xMwr73QXqzrWCnGMlnYFQ6Xx-ACm_hv0CUjF-nS92qKmqO2jodUkuiq/s320/IMG_0398.jpg" width="231" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">A tetralogia de Berlim com encenação de Dmitri Tcherniakov começa, como já se poderia antever, atendendo a experiências passadas negativas (Parsifal, por exemplo), da pior maneira no que à encenação de Das Rheingold respeita.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv8A18-Gt4B5AnWUjTEOfcKF-3DMV3Hlbac-X5F7H6_vZXHimZe3Nf5DuIoac1cjCHU0Grdbsi63j_Mx9V1N8QTYAYWNuznj1SsNv-5mxPoi8b6pQx230h8gyZLuytvjqnSgu4IIMKgptR260u739W_ykHe04xCF6k1QB4_macH1A8Y7YxPVzNGBUO/s4032/IMG_0431.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv8A18-Gt4B5AnWUjTEOfcKF-3DMV3Hlbac-X5F7H6_vZXHimZe3Nf5DuIoac1cjCHU0Grdbsi63j_Mx9V1N8QTYAYWNuznj1SsNv-5mxPoi8b6pQx230h8gyZLuytvjqnSgu4IIMKgptR260u739W_ykHe04xCF6k1QB4_macH1A8Y7YxPVzNGBUO/s320/IMG_0431.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div>A abertura tem como cenário um anfiteatro com muitas cadeiras. No meio, está uma tela onde se projetam imagens de um corte axial de uma ressonância magnética craniana. Depois, essas imagens passam a ser uma mancha que, não o sendo, vai mudando ao estilo de uma uma angiografia cerebral.<p></p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Acabada a abertura, o cenário desce e passamos para uma espécie de sala de diálise, toda ela de vidro, onde está Alberich vendado, preso a um cadeirão (com o que parecem cintos de automóvel), com um soro azul a correr numa veia puncionada e ligado a uma máquina enorme — eventualmente de diálise e de eletroencefalograma (tudo muito exagerado). Tem ainda um “capacete” de eletroencefalograma colocado na cabeça. As filhas do Reno, vestidas à moda dos anos 60/70 onde parece decorrer a ação, são umas enfermeiras de caderno na mão. Respondem aos galanteios de um Alberich que esbraceja às cegas enquanto as procura. Quando percebe que está a ser gozado e desiste, destrói a sala de um jeito patético, partindo máquinas e cadeirões, e arrancando uns tantos cabos que fazem as vezes do ouro. Tudo isto para espanto delas e dos figurantes presentes, que parecem fazer as vezes dos administradores da clínica. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Voltamos depois a subir e os cenários vão mudando na horizontal, como se fossem salas de um palácio que são contíguas umas às outras (as portas entre elas disso dão ideia). Inicialmente, voltamos ao anfiteatro, onde se apresentam Fricka e Wotan que dialogam sobre o pagamento da construção do Wahalla. Tudo num diálogo sentado e com pouca interação. A esse cenário acorre, de seguida, uma Fricka aflita, de vestido para o dia-a-dia e, em sequência, os gigantes Fafner e Falsot que aqui são apenas dois homens simples: um obeso Lammermoor encarado vestido de casaco de pele comprido, outro alto, nada sisudo, de calças verdes e blazer piroso a condizer… </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Para negociar, nada como uma mudança para uma sala mais pequena com várias cadeiras e muitos copos de água e jarros. Loge [que bebeu alguma água, não fosse o fogo queimá-lo], de fato mostarda e calças à boca de sino, chega mais tarde, como é suposto. Mas é aqui que começa a «versão comédia» de Das Rheingold. Loge, muito exagerado e expressivo, denotando traços histriónicos, goza, sem piedade e com sobranceria, com os gigantes, o que fica patente quer na expressão corporal quer até na vocal.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Combinado o pagamento, os gigantes, que se faziam acompanhar de uns indivíduos que impunham respeito, levam Freia, enquanto Wotan e Loge saem num elevador que os conduz a patamares inferiores: quem sabe se o esperado submundo de Nibelheim?</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Nesse caminho, passam, primeiramente, por um laboratório cheio de jaulas preenchidas por coelhos vivos, mas silenciosos. Continuando a descida, chegam a um laboratório apelidado de «Laboratório para estudo do comportamento humano» com várias cabines de vidro onde homens com farda numerada trabalham e Mime se compraz queixando-se. Ouro nem vê-lo! Cabos também não… Chegado Alberich que importuna todos os presentes e começa numa sessão de cacetadas em Mime, vão-se abrindo portas e fechando, enquanto mudam de cabine em cabine. A dada altura, Mime exibe o tronco nu, sem propósito evidente. Talvez para se libertar do calor de tanta pancada. Entretanto, Wotan e Loge assistem, divertidos, do lado de fora. Quando Alberich se apercebe da sua presença e a pedido destes, usa o Tarnhelm - aqui representado por um capacete esquisito ao estilo de um de eletroencefalograma -, estende os braços e diz transformar-se numa serpente para gáudio dos demais que gritam divertidos, fazendo-se horrorizados. Segue-se a transformação em objeto pequeno que, uma vez mais, não acontece. Aqui, a mando de Wotan que os chamou num telefone de parede junto ao elevador, chegam dois enfermeiros psiquiátricos (daqueles que só se vêem nos filmes) que têm por missão conter Alberich fisicamente pelas mãos levá-lo - no elevador, para que não faltem detalhes - para uma outra sala da casa de Wotan, essa, como já é sabido, situada num piso superior.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Na sala do palácio, Alberich continua a ser vítima dos inoportunos comentários de Wotan e Loge. Depois, a custo, Wotan lá lhe arranca o anel do dedo e Alberich vai-se embora, apertando a mão aos enfermeiros-carcereiros (ridículo a ponto de se ouvirem alguns risos na plateia…) que assistiam à porta e amaldiçoando quem venha a ter o ambicionado anel do poder. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">O ouro — que eventualmente tinha sido reunido enquanto Alberich, na cena anterior, falava com o anel — é entregue aos gigantes. Mas de ouro só mesmo o anel que brilha no dedo de Wotan. O demais será entregue de acordo com o que Loge vai rabiscando num pretenso contrato. Freia, presente na sala com o mesmo vestido já anteriormente descrito, é medida, mas nunca tapada ou coberta por ouro, por muito que os gigantes se tenham esforçado por vê-la menos do que na realidade a viam… Wotan lá acaba por ceder e entregar o anel, mas apenas depois de Erda ter surgido, de fato azul e sem qualquer misticismo ou aura, vinda do nada. Aparentemente, apesar do despropósito, ninguém pareceu ficar surpreendido com a aparição.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">De seguida, todos os deuses passam para uma espécie de entrada onde, com letras grandes, está gravada a sigla E.S.C.H.E. (se não fosse uma sigla, significaria freixo) nas paredes. No meio, está uma árvore. Talvez os entendidos possam esclarecer-me se era um freixo, o que é provável.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Nessa cena, uns figurantes sentam-se nos bancos embutidos nas paredes juntamente com os deuses. Aqui, Donner usa e abusa de pequenos efeitos de fumo e de fogo — bem ruidosos - que saem dos seus punhos, de um caderno, de uma espada e de uma martelada. Depois Froh, com uma grande flor na mão que, num jeito tosco, se desfaz em panos de muitas cores, tenta a referência à ponte de arco-íris que dá acesso a Wahalla, mas esqueceu-se de trazer panos que representassem todo o espectro cromático. O que foi pena, porque tinha melhorado imenso o efeito… No fim, ainda lança rede mal enjeitada sem razão que se vislumbre, a não ser dar nota de que estávamos todos um pouco confusos com a trama de Tcherniakov. No fim, sem entusiasmo, lá vão todos por uma porta (nada arqueada, por sinal, mas quadrada) para aquilo que será (podemos supor) o novo palácio chamado Walhala.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">O cenário sobe uma vez mais, mostrando uma estrutura de janelas brancas opacas que, a meio da subida, volta a descer para a entrada anterior. Aí Wotan ouve, para sua irritação, as filhas do Reno a pedir o ouro de volta, sempre na presença de um Loge desejoso de sair de cena, o que acontece porque cai o pano.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Em suma, mesmo desconhecendo a história, nada do que foi visto parece fazer sentido. É, pois, uma ode ao disparate!</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Evidentemente, esta encenação não facilita a apreciação dos cantores, desde logo porque, ao contrário de um ambiente escuro e pesado, assim como de um desenrolar dramático da acção, vemos uma sequência inverosímil de cenas com um tom de paródia inesperado. Ainda assim, pode afirmar-se que os cantores foram globalmente equilibrados, ainda que sem deslumbrar.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">O Wotan de Michael Volle tem potencial, dado que vocalmente esteve bem. A Fricka de Claudia Mahnke esteve bem, mas sem grande potência vocal. A Freia de Anett Fritsch foi das melhores da noite: emotiva e com uma voz com colocação impecável. O Donner de Lauri Vasar e o Froh de Siyabonga Maqungo estiveram bem, sem nada de negativo ou especialmente positivo a apontar. O Loge de Rolando Villazón, muito histérico e vocal e cenicamente expressivo, com os tons de comédia que lhe pediram, esteve bem, mas começou com a voz esforçada e, também atendendo ao que lhe pediram, levou ainda alguns boos bem audíveis. O Alberich de Martin Kranzle também esteve bem, mas sem grande potência vocal ou tom maléfico, porque fizeram dele mais tonto do que é (por isso levou uns boos também). O Mime de Stephan Rugamer esteve bem, sem encantar. Falsot esteve em muito bom plano, o que se agradece a Mika Kares. Já o Fafner de Peter Rose foi só pesado e lento, parecendo fazer um frete (talvez gigante). A Erda de Anna Kissjudit mostrou ter uma voz enorme, pelo que se pode esperar bastante. As filhas do Reno (Evelin Novak, Natalia Skrycka e Anna Lapkoskaja) estiveram em bom nível, sem destaque especial a dar a alguma delas.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Por fim, a Staatskapelle Berlin sob direção de Christian Thielmemann que substituiu Daniel Baremboim (que está com uma vasculite) foi quem nos permitiu ter o deleite que se espera quando se vai ver uma produção do Anel de Nibelungo. Grande interpretação! Amanhã espera-se muito da música de Dia Walkure. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Em suma, temos em cena um Anel para ver de olhos fechados. Os cantores ainda estão a arrancar e a orquestra — essa sim! — já vai lançada.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Berlin tetralogy with Dmitri Tcherniakov's direction starts, as one might expect in view of past negative experiences (Parsifal, for example), in the worst way as far as the staging of Das Rheingold is concerned.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The opening scene is an amphitheatre with lots of chairs. In the middle is a screen on which images of an axial section of a cranial MRI scan are projected. Afterwards, these images become a stain that, if it is not a stain, changes in the style of a cerebral angiography.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">After the opening, the scene descends and we pass to a kind of dialysis room, all made of glass, where Alberich is blindfolded, tied to a chair (with what look like car belts), with a blue serum running in a punctured vein and connected to a huge machine - possibly dialysis and electroencephalogram (all very exaggerated). He also has an electroencephalogram "helmet" put on his head. Reno's daughters, dressed in the 60s/70s fashion in which the action seems to take place, are some nurses with notebook in hand. They respond to the gallantries of an Alberich who squints blindly as he looks for them. When he realises he is being teased and gives up, he destroys the room in a pathetic way, breaking machines and armchairs and tearing out a few cables that are used for gold. All this to their astonishment and that of the extras present, who seem to be acting as the administrators of the clinic. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">We then go back up and the scenes change horizontally, as if they were rooms in a palace that are adjacent to one another (the doors between them give you an idea of this). Initially, we return to the amphitheatre, where Fricka and Wotan are presented and discuss the payment for the construction of the Wahalla. All in a seated dialogue with little interaction. Next, a distressed Fricka in an everyday dress arrives and, in sequence, the giants Fafner and Falsot, who here are just two simple men: one a staring, obese Lammermoor in a long fur coat, the other tall, not at all sombre, in green trousers and a matching tacky blazer... </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">To negotiate, nothing like a move to a smaller room with several chairs and lots of water glasses and jugs. Loge [who drank some water, were it not for the fire burning him], in a mustard suit and bell-bottoms, arrives later, as he is supposed to. But this is where the "comedy version" of Das Rheingold begins. Loge, very exaggerated and expressive, showing histrionic traits, mocks the giants mercilessly and with hubris, which is evident both in his body and even in his voice.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Once the payment has been agreed upon, the giants, who were accompanied by some respectful individuals, take Freia away, while Wotan and Loge leave in a lift which takes them to lower levels: who knows if the expected underworld of Nibelheim?</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">On this path, they first pass through a laboratory full of cages filled with live but silent rabbits. Continuing their descent, they reach a laboratory dubbed "Laboratory for the study of human behaviour" with several glass booths where men in numbered uniforms work and Mime is pleased to complain. Gold doesn't even see it! When Alberich arrives, he pesters everyone present and begins a session of hitting Mime, doors are opened and closed while they move from cabin to cabin. At a certain point, Mime displays her naked torso, with no obvious purpose. Perhaps to free herself from the heat of so much beating. Meanwhile, Wotan and Loge watch, amused, from outside. When Alberich becomes aware of their presence and at their request, he wears the Tarnhelm - here represented by a weird electroencephalogram-style helmet -, extends his arms and says he transforms into a snake to the delight of the others, who shout in amusement, making themselves look horrified. This is followed by the transformation into a small object which, once again, does not happen. Here, at the behest of Wotan who has called them on a wall telephone next to the lift, two psychiatric nurses arrive (the kind you only see in films) whose mission is to physically restrain Alberich by the hands and take him - in the lift, so as not to miss details - to another room in Wotan's house, this one, as is already known, situated on an upper floor.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">In the palace room, Alberich continues to be the victim of Wotan and Loge's inappropriate comments. Then, with difficulty, Wotan rips the ring off his finger and Alberich leaves, shaking hands with the nurse-caretakers (ridiculously enough, some laughter can be heard in the audience...) who were watching from the doorway and cursing whoever will have the coveted ring of power. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The gold - which had eventually been gathered while Alberich, in the previous scene, was talking to the ring - is handed over to the giants. But of gold only the ring that shines on Wotan's finger. The rest will be handed over according to what Loge scribbles on a so-called contract. Freia, present in the room wearing the same dress described above, is measured, but never covered or covered by gold, however much the giants tried to see her less than they actually saw her... Wotan eventually gives in and gives the ring, but only after Erda appears, in a blue suit and without any mysticism or aura, from nowhere. Apparently, despite the pointlessness, no one seemed surprised by the appearance.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Next, all the gods pass into a sort of entrance where, in large letters, the acronym E.S.C.H.E. (if it were not an acronym, it would mean ash tree) is engraved on the walls. In the middle is a tree. Perhaps the experts can clarify for me whether it was an ash tree, which is likely.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">In that scene, some extras sit on benches embedded in the walls along with the gods. Here Donner uses and abuses small smoke and fire effects - quite noisy - coming out of his fists, a notebook, a sword and a hammer. Then Froh, with a big flower in his hand that, in a clumsy way, shreds into cloths of many colours, tries the reference to the rainbow bridge that gives access to Wahalla, but forgot to bring cloths that represent the whole chromatic spectrum. Which was a pity, because it would have improved the effect immensely... At the end, he still throws out a badly thrown net for no reason that can be seen, except to note that we were all a little confused by Tcherniakov's plot. In the end, unenthusiastically, there they all go through a door (not arched at all, by the way, but square) to what will be (we can assume) the new palace called Walhala.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The scene rises once more, showing a structure of opaque white windows which, halfway up, descends back to the previous entrance. There Wotan hears, to his irritation, the daughters of the Rhine asking for their gold back, always in the presence of a Loge eager to leave the scene, which happens because the curtain falls.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">In short, even unaware of the story, nothing seen seems to make sense. It is, therefore, an ode to nonsense!</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Evidently, this staging does not make the singers any easier to appreciate, since, in contrast to a dark and heavy atmosphere, as well as a dramatic unfolding of the action, we see an improbable sequence of scenes with an unexpected tone of parody. Still, it can be said that the singers were balanced overall, albeit without dazzling.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Michael Volle's Wotan has potential, given that vocally he did well. Claudia Mahnke's Fricka was fine, but without much vocal power. Anett Fritsch's Freia was one of the best of the night: emotional and with a voice of impeccable placement. Lauri Vasar's Donner and Siyabonga Maqungo's Froh were fine, with nothing negative or especially positive to point out. The Loge by Rolando Villazón, very hysterical and vocally and scenically expressive, with the comedy tones that were asked of him, was fine, but started with a strained voice and, also given what was asked of him, he still had some audible boos. Martin Kranzle's Alberich was also good, but without much vocal power or evil tone, because they made him sound more silly than he is (so he got some boos too). Stephan Rugamer's Mime was okay, without charm. Falsot was in very good form, for which Mika Kares is to be thanked. Peter Rose's Fafner, on the other hand, was just heavy and slow, seeming to freight (maybe giant). Anna Kissjudit's Erda proved to have a huge voice, so one can expect quite a lot. Reno's daughters (Evelin Novak, Natalia Skrycka and Anna Lapkoskaja) were on a good level, with no special highlight to give to any of them.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Finally, the Staatskapelle Berlin under the direction of Christian Thielmemann who replaced Daniel Baremboim (who has vasculitis) was the one who allowed us to have the delight one expects when going to see a production of the Nibelungen Ring. Great interpretation! Tomorrow much is expected of Dia Walkure's music. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">All in all, we have on stage a Ring to watch with our eyes closed. The singers are still getting started and the orchestra - yes, the orchestra! - is already launched.</p>camo_operahttp://www.blogger.com/profile/04655818743380132210noreply@blogger.com0tag:blogger.com,1999:blog-6732274191821624755.post-16203769145005200522022-10-14T00:07:00.001+01:002022-10-14T00:07:07.262+01:00LA FORZA DEL DESTINO, Teatro Regio di Parma, October / Outubro 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigF6NQm016WybBwNrrgVVIQlHJS6SykzTDxr6O4xTWMpSve6hBNPh037XwVB7H06vTtxiuEVhha6M_y30VIQd82Y09rGB40q3vNum16qhbnCgQNjW0vJt8gpASrBiRUScFWUmbp-P1uzWCCJ76FLUqOgEUjQWXIKfGKpt6jFIVvUeg4VLIaayZJCKu/s304/cartaz.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="233" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigF6NQm016WybBwNrrgVVIQlHJS6SykzTDxr6O4xTWMpSve6hBNPh037XwVB7H06vTtxiuEVhha6M_y30VIQd82Y09rGB40q3vNum16qhbnCgQNjW0vJt8gpASrBiRUScFWUmbp-P1uzWCCJ76FLUqOgEUjQWXIKfGKpt6jFIVvUeg4VLIaayZJCKu/w297-h388/cartaz.jpg" width="297" /></a></div><p style="text-align: center;">(review in English below)</p><p>A minha participação no Festival acabou da melhor maneira. Esta <b>Forza del Destino</b> foi incrível em todos os aspectos. A encenação é do mais tradicional que possa imaginar e, na sua simplicidade, foi grandiosa porque com cantores-atores deste calibre, mesmo que não existisse, em nada reduzia a experiência. Se a pudesse resumir, fá-lo-ia como uma sequência de recortes dos locais onde cada cena, cada acto, se desenrola, sobre um fundo temporal (crepúsculo, noite, luar…). O que mais gostei foi a cena do Mosteiro onde, com a simplicidade que referi, sobre um fundo de noite com lua cheia, o mosteiro é como que em formato um recorte de cartolina, inclinado para a direita, com um adro com uma cruz que se inclina para o outro lado - penso que a ideia da inclinação do mosteiro para o direita e da cruz para a esquerda, nos traz a ideia, mesmo antes da cena acabar, que Leonora vai ali conseguir apoio/proteção porque parece que se abraçam.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJqyFV0b1e7k4klpbm7mVINkZWZiaYKqj1bnRB8GD9NYwmqdLvLuahPHGU7jOjPv9mgx3Sjc_xsFONVPROMjk6zKhNHNUGrk84FRw83PuBwi5IG7AMZLYKFbsK6FWzVYFCT0xfPKJiXHGus78fiCdU-3wKXeF0oWX3IWlDEDDfpf8P9WDi32m7cixk/s541/Screen%20Shot%202022-10-02%20at%2015.32.13.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="541" data-original-width="518" height="361" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJqyFV0b1e7k4klpbm7mVINkZWZiaYKqj1bnRB8GD9NYwmqdLvLuahPHGU7jOjPv9mgx3Sjc_xsFONVPROMjk6zKhNHNUGrk84FRw83PuBwi5IG7AMZLYKFbsK6FWzVYFCT0xfPKJiXHGus78fiCdU-3wKXeF0oWX3IWlDEDDfpf8P9WDi32m7cixk/w345-h361/Screen%20Shot%202022-10-02%20at%2015.32.13.png" width="345" /></a></div><p>A direção de <b>Roberto Abbado </b>foi intensa e precisa, com a orquestra a responder muito bem, muito coesa e oferecendo toda a beleza de linhas melódicas líricas que esta ópera tem. O <b>Coro</b>, não do Regio de Parma mas o do Comunale de Bologna (algo que levou a grandes críticas na estreia…) esteve impecável, quer nas passagens mais dramáticas quer nas mais cómico-populares.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOfqyEQXck1QfTzUuTvkZIukDYrPSl2JxBdlUDAwbKQ8rIuqYO0cbY2YHeneEar9eh3LzdBdB5nQKv6Mq99UT6pZ6_EBieDVzIC4WV7mXQiQnV6PpWPydvIzMyM_HY1SbPZVyc0oFE4I7d0q5RYqa610PigO8CuVp1_LHstFnDdK_93UQXBfivUlS9/s1024/Maestro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOfqyEQXck1QfTzUuTvkZIukDYrPSl2JxBdlUDAwbKQ8rIuqYO0cbY2YHeneEar9eh3LzdBdB5nQKv6Mq99UT6pZ6_EBieDVzIC4WV7mXQiQnV6PpWPydvIzMyM_HY1SbPZVyc0oFE4I7d0q5RYqa610PigO8CuVp1_LHstFnDdK_93UQXBfivUlS9/w315-h420/Maestro.jpg" width="315" /></a></div><p>Com um elenco de grandes nomes verdianos, a expectativa de uma grande noite era imensa. E assim foi. <b>Gregory Kunde</b>, nos seus 68 anos, foi impressionante. Todos, mas totalmente todos, os seus passos, expressões, movimentos foram perfeitamente tradutores do correcto sentimento da personagem em cada momento. Realmente viveu o papel com uma mestria rara de se ver em palco. A voz continua em grande forma e, mais do que isso, consegue uma variedade de “cores” que não são habituais de se ouvir. A célebre ária de Don Alvaro no início do 3º acto foi perfeita, com os agudos fortes, estáveis e com timbre polido, entrecruzados com um registo médio quente, por vezes algo metalizado, e onde a dinâmica eximiamente ajustada ao sentimento, fazia parecer que ouvíamos vários tipos de vozes a sair do mesmo cantor ao mesmo tempo. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBjKk6O-uVjhqZAVZUyewzOqdeJ7O_vSaFfKYgUCK9R6tP0YXGWodJ5y-Qp8beK_ObO7jLTDLFm9oy5btm-MrilsqHhHUzL4yp_2G8ISD9grzKq1PZWCZLN1vNTQSe0bhV59UIsoNRYyQCRu9hjKdnygKGNPDMYE8yB8kp7iXLOy0lSkE8oEGr-PKT/s1024/Don%20Alvaro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBjKk6O-uVjhqZAVZUyewzOqdeJ7O_vSaFfKYgUCK9R6tP0YXGWodJ5y-Qp8beK_ObO7jLTDLFm9oy5btm-MrilsqHhHUzL4yp_2G8ISD9grzKq1PZWCZLN1vNTQSe0bhV59UIsoNRYyQCRu9hjKdnygKGNPDMYE8yB8kp7iXLOy0lSkE8oEGr-PKT/w309-h412/Don%20Alvaro.jpg" width="309" /></a></div><p>Os duetos com o Don Carlo de <b>Amartuvshin Enkhbat</b> foram simplesmente geniais a todos os níveis. A voz do mongol é impressionante e ele usa-a bem do ponto de vista dramático, quase sempre expressando correctamente o sentimento do texto. Contudo, em grande parte das vezes não se tem uma clara noção da expressão facial, o que é pena porque isso elevaria ainda mais as qualidades deste barítono. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnWwpGMKb0_HtTQWH2yX2Vx1NJvSSeGk-0RbQEwu2Q_DpKV6FOcbAYj9XkeFolWl_sg8IGiS5ksltIxgJ-TtNQyC0cLnE8XaYVpbk763b1L0nBdFkv6HqfUHr28pjwwnUVo9LYcpjrYV3vQbuXk4poJc9anlZqTIJIIIn_vEK7QS9QBQFat9ZZZtGV/s1024/Don%20Carlo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="449" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnWwpGMKb0_HtTQWH2yX2Vx1NJvSSeGk-0RbQEwu2Q_DpKV6FOcbAYj9XkeFolWl_sg8IGiS5ksltIxgJ-TtNQyC0cLnE8XaYVpbk763b1L0nBdFkv6HqfUHr28pjwwnUVo9LYcpjrYV3vQbuXk4poJc9anlZqTIJIIIn_vEK7QS9QBQFat9ZZZtGV/w337-h449/Don%20Carlo.jpg" width="337" /></a></div><p><b>Liudmyla Monastyrska </b>esteve muito bem, embora com um vibrato que, se fosse menos marcado, tornaria o canto mais bonito. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5_gP4uYBMV0fmhiKzIMk0P-MqQ6WqSqtkAxD2sP0uoNL4gLmmJ2uKEu_Ij0sZjTLVZRfdDc-QsfizZXi7t86fFvEx3ULSoRHuwdgM6Fi21gkmwASQJZh9CLZFAlSK5i8Y8F0xk7EtknztSWhTkSa4qaAuoOrzkKq6-lXX8WhyLfNkTDtxyrZliTxT/s1024/Leonora.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="407" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5_gP4uYBMV0fmhiKzIMk0P-MqQ6WqSqtkAxD2sP0uoNL4gLmmJ2uKEu_Ij0sZjTLVZRfdDc-QsfizZXi7t86fFvEx3ULSoRHuwdgM6Fi21gkmwASQJZh9CLZFAlSK5i8Y8F0xk7EtknztSWhTkSa4qaAuoOrzkKq6-lXX8WhyLfNkTDtxyrZliTxT/w305-h407/Leonora.jpg" width="305" /></a></div><p><b>Roberto de Candia </b>fez um Melitone equilibrado, sem exageros desnecessários no sentido cómico a que a personagem se predispõe. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTjsJGhOGamIp3IvZsm6Tgp53KIrBmHIV1DJf409TIfWpid_07ld6IkZwhBMJkdBTnP2CZQSvjIhsn8iWs6IlSHN1yod_ho4wH2LGSB1sTiSL6WuKTBdryBrzT4YwDPCV-5oZTBN2KfK9QrdIzbWEq06xI0UH24Y1gqdAf3cREoUsl86OLV_F6zCwN/s1024/Fra%20Melitone.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTjsJGhOGamIp3IvZsm6Tgp53KIrBmHIV1DJf409TIfWpid_07ld6IkZwhBMJkdBTnP2CZQSvjIhsn8iWs6IlSHN1yod_ho4wH2LGSB1sTiSL6WuKTBdryBrzT4YwDPCV-5oZTBN2KfK9QrdIzbWEq06xI0UH24Y1gqdAf3cREoUsl86OLV_F6zCwN/w326-h434/Fra%20Melitone.jpg" width="326" /></a></div><p>Agora as duas grandiosas surpresas para mim foram a Preziosilla de <b>Annalisa Stroppa </b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtXhmhzY_xwzKte5ddQ-IRvYk82QQVXV0poZKcRUR2sV3XKPNB89Nf4xEqo_bu9US1KIoT2x-ofgHOwak5egTHe8V8Chorq7Nm1fmu0eMtngAD5ZkKhZMXxKuiGdPSK_1pDte2vL_c0GktqJg4By3zz-QOGPunMsE8FIwf7GpBW6lR0NPUZ9IuOxKB/s1024/Preziosilla.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtXhmhzY_xwzKte5ddQ-IRvYk82QQVXV0poZKcRUR2sV3XKPNB89Nf4xEqo_bu9US1KIoT2x-ofgHOwak5egTHe8V8Chorq7Nm1fmu0eMtngAD5ZkKhZMXxKuiGdPSK_1pDte2vL_c0GktqJg4By3zz-QOGPunMsE8FIwf7GpBW6lR0NPUZ9IuOxKB/w327-h436/Preziosilla.jpg" width="327" /></a></div><p>e o Padre guardiano de <b>Marko Mimica</b>. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY6dVAiPdozM8IBoVtML-9OHfR_NCPcSlIZybAYWyccxdOFLf62o2UgEaexpUaM4Z7F3mjVfYD5vtV9czhEreZDTwcUnLQ_BzrBm5CJ2EJo0nZrzpvbzo7BOOXXBwTf5dv0K0auQqrMppDTo-NXaDf2rP8tKkVyvPg9oh4lpfRDDpB4PPrBgMzfgVe/s1024/Padre%20Guardiano.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY6dVAiPdozM8IBoVtML-9OHfR_NCPcSlIZybAYWyccxdOFLf62o2UgEaexpUaM4Z7F3mjVfYD5vtV9czhEreZDTwcUnLQ_BzrBm5CJ2EJo0nZrzpvbzo7BOOXXBwTf5dv0K0auQqrMppDTo-NXaDf2rP8tKkVyvPg9oh4lpfRDDpB4PPrBgMzfgVe/w330-h440/Padre%20Guardiano.jpg" width="330" /></a></div><p>A italiana, de excelente figura, jovem, tem uma voz fenomenal, uma destreza em palco e uma identificação apaixonante pelo papel. Mas o baixo Marko Mimica, de 35 anos, não lhe fica atrás e, confesso, que foi o maior factor surpresa desta récita para mim. Vemos entrar um jovem, bem apessoado, em traje de monge, num papel que parece para alguém com mais idade, mas esta sensação de inconsistência desaparece quando ouvimos a voz. É brutal! </p><p>Um espectáculo fantástico.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMUIE2HibsUErHbhY5QHuzX5MqUi76Xrptfa0_aFjWxVauZa97mgIEhYHtt5-PplAS9e-qHY57hw1HUfM8e-tEKCiTWn65JMsN1sfXXrzM6-dEnCl6Hm5n5onXhGz74Vl7AhpfwyEObSTdBJlYB0rEfVFpb9zSF-RDwzfIwBWnVI7D2AbjFDcwdls6/s1024/tutti1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMUIE2HibsUErHbhY5QHuzX5MqUi76Xrptfa0_aFjWxVauZa97mgIEhYHtt5-PplAS9e-qHY57hw1HUfM8e-tEKCiTWn65JMsN1sfXXrzM6-dEnCl6Hm5n5onXhGz74Vl7AhpfwyEObSTdBJlYB0rEfVFpb9zSF-RDwzfIwBWnVI7D2AbjFDcwdls6/w430-h323/tutti1.jpg" width="430" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVWEZy5j-uX7kvGnRZu0xaOfjv0KY_8ism6d8VDbOSFFEPp9-67sWjRmOP_jGvAMn7EcQTGyNR3dTMlrVaHmyUd0pPYsPbiG6fOsIAv6fYovr8jMCbEZjLiOPF47Korr3y8KKwIqY5RtOJZdVOmh6jkeL_8v_Radzp3czg_NvzTpzxau5lNjqcT4rZ/s1024/tutti2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVWEZy5j-uX7kvGnRZu0xaOfjv0KY_8ism6d8VDbOSFFEPp9-67sWjRmOP_jGvAMn7EcQTGyNR3dTMlrVaHmyUd0pPYsPbiG6fOsIAv6fYovr8jMCbEZjLiOPF47Korr3y8KKwIqY5RtOJZdVOmh6jkeL_8v_Radzp3czg_NvzTpzxau5lNjqcT4rZ/w425-h319/tutti2.jpg" width="425" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>(<b>Texto de Wagner_fanatic</b>)</p><p><br /></p><p><span style="color: #2b00fe; font-size: large;">LA FORZA DEL DESTINO, Teatro Regio di Parma, October 2022</span></p><p>My participation in the Festival ended in the best way. This <b>Forza del Destino </b>was amazing in every way. The staging is as traditional as you can imagine and, in its simplicity, it was great because with singer-actors of this caliber, even if it didn't exist, it in no way reduced the experience. If I could summarize it, I would do it as a sequence of clippings of the places where each scene, each act, takes place against a temporal background (twilight, night, moonlight…). What I liked the most was the scene of the Monastery where, with the simplicity I mentioned, against a background of night with a full moon, the monastery is like a cardboard cutout, inclined to the right, with a churchyard with a cross that leans to the other side - I think the idea of the monastery leaning to the right and the cross to the left, brings us the idea, even before the scene ends, that Leonora goes there to get support/protection because it seems that they embrace.</p><p><b>Roberto Abbad</b>o's direction was intense and precise, with the orchestra responding very well, very cohesive and offering all the beauty of lyrical melodic lines that this opera has. The choir, not from the Regio de Parma but from the Comunale de Bologna (something that led to great criticism at the premiere...) was impeccable, both in the most dramatic passages and in the most comic-popular ones.</p><p>With a cast of great Verdean names, the expectation of a great night was immense. And so it was. <b>Gregory Kunde</b>, in his 68 years old, was impressive. All, but totally all, his steps, expressions, movements were perfectly translators of the correct feeling of the character in each moment. He really lived the role with a mastery rare to see on stage. His voice is still in great shape and, more than that, it achieves a variety of “colors” that are not usual to hear. Don Alvaro's famous aria at the beginning of the 3rd act was perfect, with strong, stable highs with a polished timbre, crisscrossed with a warm midrange, sometimes something metallic, and where the dynamics expertly adjusted to the feeling, made it seem like we were listening different types of voices coming out of the same singer at the same time.</p><p>The duets with Don Carlo by <b>Amartuvshin Enkhbat </b>were simply genius on every level. The Mongolian's voice is impressive and he uses it well from a dramatic point of view, almost always correctly expressing the sentiment of the text. However, most of the time we don't have a clear notion of the facial expression, which is a pity because that would elevate the qualities of this baritone even more.</p><p><b>Liudmyla Monastyrska</b> was very good, although with a vibrato that, if it were less marked, would make the singing more beautiful.</p><p><b>Roberto de Candia </b>made a balanced Maeitone, without unnecessary exaggerations in the comic sense to which the character is predisposed.</p><p>Now the two big surprises for me were <b>Annalisa Stroppa</b>'s Preziosilla and Father Guardiano by <b>Marko Mimica. </b>The Italian, with an excellent figure, young, has a phenomenal voice, a dexterity on stage and a passionate identification with the role. But the bass Marko Mimica, 35 years old, is not far behind her and, I confess, was the biggest surprise factor of this performance for me. We see a handsome young man in monk's garb enter a role that looks like an older person, but this sense of inconsistency disappears when we hear the voice. It's brutal!</p><p>A fantastic performance.</p><p>(Text by Wagner_fanatic)</p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com0tag:blogger.com,1999:blog-6732274191821624755.post-66266242430327908572022-10-12T00:01:00.002+01:002022-10-12T00:01:38.443+01:00KÖNIGSKINDER, De Nationale Opera, Amsterdam, October / Outubro 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKuKCKfjjQB7DpDw8LIZOLHuB1GXEot187SZ_QnfdaKZcnjkkat-jBndsl4cSKO1LMNxxTDJEjrcZ0h-VlHbgl840B7p9rO8Xt2TdlQHuB-ckUaQZP1BT7ln62nanb4T5liqcjc0PSonqJ_pqjC153PnSVQiK_OfaQODauh2UePCZclrEBc3tn9s4H/s1024/cartaz.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="465" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKuKCKfjjQB7DpDw8LIZOLHuB1GXEot187SZ_QnfdaKZcnjkkat-jBndsl4cSKO1LMNxxTDJEjrcZ0h-VlHbgl840B7p9rO8Xt2TdlQHuB-ckUaQZP1BT7ln62nanb4T5liqcjc0PSonqJ_pqjC153PnSVQiK_OfaQODauh2UePCZclrEBc3tn9s4H/w349-h465/cartaz.JPG" width="349" /></a></div><p style="text-align: center;">(Review in English below)</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7OwqXqFMxtniADH9HtoacEuzP7Zq-hWo5fDa5o50hbqBpRna31g9R7gxmiJ0RFa5wr00oM5LX6LcENigDP4tXRFpU4VnGIO-7m5H3bDzZ3R18rYOn8TghdUTULE_UJugaUGQFcDGii-IILmn53hVmrzVawMclBYRszzyAKCZKqU52WZQZ3wc3wbFi/s1024/opera%20masterda%CC%83o.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7OwqXqFMxtniADH9HtoacEuzP7Zq-hWo5fDa5o50hbqBpRna31g9R7gxmiJ0RFa5wr00oM5LX6LcENigDP4tXRFpU4VnGIO-7m5H3bDzZ3R18rYOn8TghdUTULE_UJugaUGQFcDGii-IILmn53hVmrzVawMclBYRszzyAKCZKqU52WZQZ3wc3wbFi/w419-h314/opera%20masterda%CC%83o.JPG" width="419" /></a></div><p>Dois pontos essenciais em relação à récita de hoje:</p><p>1) Como é que é possível que esta ópera não esteja mais frequentemente em cena nos palcos dos grandes teatros de ópera?!?!? Porquê?!?!?</p><p>2) A Ópera de Amsterdão conseguiu instalar uma <b>Königskinder</b>, de <b>E. Humperdinck</b> de uma qualidade que, a meu ver, devia ficar imortalizada em vídeo porque seria de referência para esta obra. Não me vou perder no resumo da história porque poderá ser lido na wikipedia ou site similar.</p><p>A encenação de <b>Christof Loy</b> é de uma simplicidade e de uma fidelidade ao texto incríveis. Sob fundo branco que permanece na quase totalidade da ópera, excepto no dueto final entre as personagens principais, onde se eleva para deixar visualizar um nevão ligeiro (3º acto é no Inverno), a casa da bruxa (intacta no 1º acto, vandalizada/velha no 3º) e uma árvore (florida no 1º acto, seca no 3º), com uns gansos de madeira puxados a cordel, uma coroa de flores e uma de jóias, é o que chega para contar uma história. Sob este palco um grupo de cantores/actores, dançarinos e coro de crianças (dentro de palco e no fosso) de uma qualidade interpretativa vocal e cénica exímia e homogénea, ao mais ínfimo detalhe e com um guarda roupa de bom gosto onde predomina o branco/creme. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD6ep3v9utn8D9FtGy9OmEGo5i6lHl-0XFLLYi1jPBllYf7K0BM18dAU_QV7DD10qM3beKxdJRpFkNb-N6Dl7sDWmgFPiRazVkD8b1oQmF9NdhvRCum_OZBSrOxjyuD9pfQICPOm8J4AD3C_x9IG3RBi492XLBDAZ3RSx92XR8B7zUbxK-08X_3uRI/s1024/1%C2%BA%20acto.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD6ep3v9utn8D9FtGy9OmEGo5i6lHl-0XFLLYi1jPBllYf7K0BM18dAU_QV7DD10qM3beKxdJRpFkNb-N6Dl7sDWmgFPiRazVkD8b1oQmF9NdhvRCum_OZBSrOxjyuD9pfQICPOm8J4AD3C_x9IG3RBi492XLBDAZ3RSx92XR8B7zUbxK-08X_3uRI/w406-h305/1%C2%BA%20acto.JPG" width="406" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_xQnynL7E1kNXtqlqrFF8oGS4hcX8hZJfI6YgN-zwgeXb1hLmVfZg7mbPampjfNJ5RtpuBy0TpJo4T3F9u5qmRSMI_EQGrAQnmazvZD0qAoveN42gXoXXrKIiztQU9ZQeIeggJeuAru0Ra3Z2dTOOsHtTR_fwPxhxxqfaEd0iXNju_H5tEFOUbih3/s1024/2%20acto.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_xQnynL7E1kNXtqlqrFF8oGS4hcX8hZJfI6YgN-zwgeXb1hLmVfZg7mbPampjfNJ5RtpuBy0TpJo4T3F9u5qmRSMI_EQGrAQnmazvZD0qAoveN42gXoXXrKIiztQU9ZQeIeggJeuAru0Ra3Z2dTOOsHtTR_fwPxhxxqfaEd0iXNju_H5tEFOUbih3/w405-h304/2%20acto.JPG" width="405" /></a></div><br /><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdRUuHsJSJxOBNaF67HDEMmZ1agBwJXzzIFw66n8WFDLp2BNSlxo-s-DvTh1dMGCgpZEa-R2uOsSRkRdZg17nb9_YoL0aOd3qP6xqUm6U78EFnVuX3aqGAn6iEdWyuisb2bslr_B57CbK1kT-c8xJcXt30mXkaOofdfH8s7auVXd_uyfdU-o2MlsBG/s1024/3%20acto.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdRUuHsJSJxOBNaF67HDEMmZ1agBwJXzzIFw66n8WFDLp2BNSlxo-s-DvTh1dMGCgpZEa-R2uOsSRkRdZg17nb9_YoL0aOd3qP6xqUm6U78EFnVuX3aqGAn6iEdWyuisb2bslr_B57CbK1kT-c8xJcXt30mXkaOofdfH8s7auVXd_uyfdU-o2MlsBG/w409-h307/3%20acto.JPG" width="409" /></a></div><p>A música de Humperdinck é linda, cheia de leitmotiv (ou não fosse ele um grande admirador de Wagner) e potente do ponto de vista dramático, principalmente nos 1º e 3º actos. Loy aproveita-se bem disso e no início do 3º acto, durante a entrada orquestral lindíssima, projecta em filme tudo aquilo que se passou na história mas que não tem acção cénica de palco na versão original - o encarceramento do violinista por ser culpado de ter perguntado à bruxa quem seria o novo rei, o julgamento deste e da bruxa, a que desta resulta a sua morte na fogueira, excelentemente caracterizada, sob olhar dos populares que são todos os que entram no 2º acto da ópera; em ambos os julgamentos os réus (violinista e bruxa) olham para um padre para apoio e que se limita a baixar os olhos e contrair os masséteres; e a libertação do violinista após a morte da bruxa não sem antes ser enchido de pancada pela guarda e sair a coxear em direcção ao ambiente que será o do 3º acto (vive na casa vandalizada da bruxa). Em palco, uma violinista vestida de fato preto, completou o elenco, fazendo os diversos solos de violino que a obra apresenta e com um lirismo marcante.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOkqYhFodBwHnwCphrgCJv-0r9VZ55SVIEslsLL7fBs1p-QHK2ePyAFcSEtMRB-XxahqStSEURw9AJJXknUI-IH6o7uw0myKZi4D4XXmnEz5AqF4Sq8eZaP0eMqLG3nKteDgyGpNibi2xio6wWyj_b9a7HKqxnvlsvpqt_FeCetfRhol8grplVZX1S/s1024/violinista%201.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="441" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOkqYhFodBwHnwCphrgCJv-0r9VZ55SVIEslsLL7fBs1p-QHK2ePyAFcSEtMRB-XxahqStSEURw9AJJXknUI-IH6o7uw0myKZi4D4XXmnEz5AqF4Sq8eZaP0eMqLG3nKteDgyGpNibi2xio6wWyj_b9a7HKqxnvlsvpqt_FeCetfRhol8grplVZX1S/w331-h441/violinista%201.JPG" width="331" /></a></div><p><b>Marc Albrecht</b> dirigiu de uma forma emotiva e precisa uma orquestra portentosa. O facto de o fosso não ter muro a separar da plateia, permite que o som se alastre de forma ainda mais exuberante pela sala o que, num momento ou outro, reduziu um pouco as vozes em palco mas sem comprometer o aproveitamento global.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx6tzBSjuQTFzKDiKetaOe3k5a1nKzkY3aTWlYErE6oS2HAyftJx3R9lrIK15hkf7KdsDAcxW3--huvr7tLfS7D50Rv1Im41ww6dLeMaj6MKEtLWeGW7bA-DTmUOP-inrcj1dJrz65o6ZBAmxAXqIIqg7b099e15rsTFbPxzwStL56j8lTQGRh4qKY/s1024/Maestro%201.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="453" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx6tzBSjuQTFzKDiKetaOe3k5a1nKzkY3aTWlYErE6oS2HAyftJx3R9lrIK15hkf7KdsDAcxW3--huvr7tLfS7D50Rv1Im41ww6dLeMaj6MKEtLWeGW7bA-DTmUOP-inrcj1dJrz65o6ZBAmxAXqIIqg7b099e15rsTFbPxzwStL56j8lTQGRh4qKY/w340-h453/Maestro%201.JPG" width="340" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix1m57jbcT4H_chYtoaw8yRo10bJhNuVypVFTjHHiBu-1rWsrGc_IpMn2xLL0z2N2Qyv6IHMdtHbcNpGFQ0sE_NGOFTfdp_e1T91U-SGhOcCMYg5uqLEq-Fka9yDz7oDz7slJhjp2HRv6sV6GC1L6nw6dJu0P8XXdxnVUIgK785u6s5xJC6dJvzFvi/s1024/maestro2.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix1m57jbcT4H_chYtoaw8yRo10bJhNuVypVFTjHHiBu-1rWsrGc_IpMn2xLL0z2N2Qyv6IHMdtHbcNpGFQ0sE_NGOFTfdp_e1T91U-SGhOcCMYg5uqLEq-Fka9yDz7oDz7slJhjp2HRv6sV6GC1L6nw6dJu0P8XXdxnVUIgK785u6s5xJC6dJvzFvi/w338-h450/maestro2.JPG" width="338" /></a></div><br /><p>Nos cantores, pouco há a dizer a não ser que todos foram brutalmente espectaculares, aliás como já referi. <b>Daniel Behle</b>, meu bem conhecido do mundo wagneriano de Bayreuth, é perfeito para este papel, na sua capacidade de lirismo vocal.<b> Olga Kulchynska</b> tem uma voz lindíssima, bem colocada, emotiva. O seu rezar aos falecidos pais para que estes lhe tirem o feitiço da bruxa, no final do 1º acto, numa das passagens mais bonitas desta ópera, foi idílico, ajudada por Loy na beleza ao deixar cair pétalas/confetti sobre si (originalmente seria uma estrela). Conhecedor das várias (poucas) gravações que há desta ópera, o que hoje aqui ouvi foi melhor do que até agora há registado. <b>Doris Soffel </b>teve uma presença de palco fortíssima, actriz sólida, vocalmente ainda forte apesar dos seus já 74 anos. E <b>Josef Wagner</b>… que grande barítono, que voz apaixonante, que grande actor. A voz é perfeita para um Wolfram, um Amfortas, um Sachs e até mesmo um Wotan. Percebo porque tem cantado muito o Mandrika da Arabella - a voz é perfeita para o papel, tal como a de Franz Grundheber na célebre gravação de Jeffrey Tate, a minha favorita. Todos os outros ao mais alto nível mas destaco o coro de crianças e uma delas (que penso ser a filha do fazedor de vassouras): I<b>sabel Houtmortels</b>. Voz tão bonita, cristalina, de arrepiar!!!</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTmum5o1SmzGzPNr4lV35nW8c8cQNkhZKs39ePs4ykgFMGatScDSDQTc-s6bH29RBjOlEZIHMYOGbUIEzC-vyskQwSb89qDpW15dVFV8f9f9tB5OT08BtvAH3jsXaaLb1K-Pm_7H5p4lTWsZWMbwjguWdCj6IFlGGP1gI7GiMVVp8aZvRhQ9RBKs4A/s1024/solista%20Masc%201.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTmum5o1SmzGzPNr4lV35nW8c8cQNkhZKs39ePs4ykgFMGatScDSDQTc-s6bH29RBjOlEZIHMYOGbUIEzC-vyskQwSb89qDpW15dVFV8f9f9tB5OT08BtvAH3jsXaaLb1K-Pm_7H5p4lTWsZWMbwjguWdCj6IFlGGP1gI7GiMVVp8aZvRhQ9RBKs4A/w342-h456/solista%20Masc%201.JPG" width="342" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbqn4B1y_9wNkvC8elE72erz1QTM1sTsegTaXjGZYOj4nzNBa7fdmb7QGvrjKXTt9eOk4XQyvN2G7PCroPCI7gIiO_EEKfS0qHZinLYj7nyKZsUAaTTdN8nJ7kNfHTNzNrItoUND0XuoZhwpy9KlKowBU6iec7jBpXLJk_ReT2J5H39UeN5BhZReBI/s1024/solista%20Fem%201.JPG" style="margin-left: 1em; 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margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6_hqPWjvbSmgaEOgamZNy7CjxRrLYUhDfJ043spLxysbYj08jxpOFPPIBVmZgcR_8jmVIqpVy4az-wgAakNC6Fie3Lx_Ml1OA0jao1B8XNnKJQUqKn3wJnLs6n7xxRZ7rZncx5vGkL3I-M9eN3rKEcQtJu4EVmqilDUGwDrT6NS9c2DmePh8Wa5BL/w388-h291/3%20solistas%20principais.JPG" width="388" /></a></div><br /><p>Foi muito bom voltar a esta casa, 9 anos depois e para um tesouro operático que espero que muitos dos teatros de ópera saibam vir a reencontrar.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-D8WdYfVdGJyZB22T-RxpjyRM15fC2mUh3gqj3VNlZO9fhdQskrAiAIBbMgCC_bpVvvMlR6JQHhDuLsRF0SqSIzkYF6A-Iku40Ra2whtSrUxzu5F7kmxrHKlTwgaGEXYlj-McF7cPIjkO2BYqJ3boig12ubU_GxBnSxGsFIdJNwtvgMWRBuO4s0DH/s1024/tutti1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-D8WdYfVdGJyZB22T-RxpjyRM15fC2mUh3gqj3VNlZO9fhdQskrAiAIBbMgCC_bpVvvMlR6JQHhDuLsRF0SqSIzkYF6A-Iku40Ra2whtSrUxzu5F7kmxrHKlTwgaGEXYlj-McF7cPIjkO2BYqJ3boig12ubU_GxBnSxGsFIdJNwtvgMWRBuO4s0DH/w427-h320/tutti1.JPG" width="427" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTUiTEjB4m98K7ynSdeZ8pwnwNix_mf_B-pbJTwp3JCo-hO85iC-91N7GHIVYRSWVZdN6ENtkcjbhVqHsNR6bTlegtNpFWWv8i5TU3-EPXYUTVUPRY1lNQuZfFhZK2lE4FFJL8gIWzD_IfIKuzVJco5Y7WJ1zBqgV5hyXAqI1YCyK2ExZg1couQDHS/s1024/tutti4.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="1024" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTUiTEjB4m98K7ynSdeZ8pwnwNix_mf_B-pbJTwp3JCo-hO85iC-91N7GHIVYRSWVZdN6ENtkcjbhVqHsNR6bTlegtNpFWWv8i5TU3-EPXYUTVUPRY1lNQuZfFhZK2lE4FFJL8gIWzD_IfIKuzVJco5Y7WJ1zBqgV5hyXAqI1YCyK2ExZg1couQDHS/w436-h246/tutti4.JPG" width="436" /></a></div><p>(<b>Texto de Eagner_fanatic</b>)</p><p><br /></p><p><br /></p><p><span style="color: #2b00fe; font-size: large;">KÖNIGSKINDER, De Nationale Opera, Amsterdam, October 2022</span></p><p>Two essential points regarding today's performance:</p><p>1) How is it possible that this opera is not more frequently on the stage of the great opera theaters?!?!? Why?!?!?</p><p>2) The Amsterdam Opera managed to set a <b>Königskinder</b> of a quality that, in my opinion, should be immortalized on video because it would be a reference for this work. I won't get lost in the summary of the story because it can be read on wikipedia or similar site.</p><p><b>Christof Loy</b>'s staging is incredibly simple and faithful to the text. Against a white background that remains in almost the entirety of the opera, except for the final duet between the main characters, where it rises to reveal a light snowfall (3rd act is in winter), the witch's house (intact in the 1st act, vandalized/old in the 3rd) and a tree (flowering in the 1st act, dry in the 3rd), with some wooden geese pulled on string, a wreath of flowers and a wreath of jewels, is what is enough to tell a story. Under this stage, a group of singers/actors, dancers and children's choir (onstage and in the pit) of an excellent and homogeneous vocal and scenic interpretive quality, down to the smallest detail and with a tasteful wardrobe where white predominates. /cream.</p><p><b>Humperdinck</b>'s music is beautiful, full of leitmotifs (or were he not a great admirer of Wagner) and powerful from a dramatic point of view, especially in the 1st and 3rd acts. Loy makes good use of this and at the beginning of the 3rd act, during the beautiful orchestral entrance, he projects on film everything that happened in the story but which does not have scenic stage action in the original version - the violinist's imprisonment for being guilty of having asked the witch who would be the new king, the judgment of him and the witch, which resulted in his death at the stake, excellently characterized, under the gaze of the popular people who are all who enter the 2nd act of the opera; in both trials the defendants (fiddler and witch) look to a priest for support, who simply lowers his eyes and contracts his masseters; and the release of the violinist after the witch's death, not before being beaten by the guard and limping towards the environment that will be that of the 3rd act (he lives in the witch's vandalized house). On stage, a violinist dressed in a black suit, completed the cast, performing the various violin solos that the work presents and with a striking lyricism.</p><p><b>Marc Albrecht </b>directed a portentous orchestra in an emotional and precise way. The fact that the pit does not have a wall separating the audience, allows the sound to spread even more exuberantly through the room, which, at one time or another, reduced the voices on stage a little but without compromising the overall use.</p><p>As for the singers, there is little to say other than that they were all brutally spectacular, as I mentioned before. <b>Daniel Behle</b>, my acquaintance from the Wagnerian world of Bayreuth, is perfect for this role, in his capacity for vocal lyricism. <b>Olga Kulchynska</b> has a beautiful, well-heard, emotional voice. Her praying to her deceased parents to remove the witch's spell, at the end of the 1st act, in one of the most beautiful passages of this opera, was idyllic, helped by Loy in her beauty by dropping petals/confetti on her (originally it would be a star). Knowing the various (few) recordings of this opera, what I heard here today was better than what has been recorded so far. <b>Doris Soffel</b> had a very strong stage presence, a solid actress, vocally still strong despite her 74 years. And <b>Josef Wagner</b>… what a great baritone, what a passionate voice, what a great actor. The voice is perfect for a Wolfram, an Amfortas, a Sachs and even a Wotan. I can see why he's been singing Arabella's Mandrika a lot—his voice is perfect for the role, as is Franz Grundheber's on Jeffrey Tate's famous recording, my favorite. All the others are at the highest level, but I highlight the children's choir and one of them (who I think is the daughter of the broom maker): <b>Isabel Houtmortels.</b> Voice so beautiful, crystal clear, chilling!!!</p><p>It was great to return to this opera house, 9 years later, and to an operatic treasure that I hope many of the opera theaters will know how to find again.</p><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div>(<b>Text by Wagner_fanatic</b>)<p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br />Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com0tag:blogger.com,1999:blog-6732274191821624755.post-49543839098809554262022-10-09T00:03:00.004+01:002022-10-12T15:43:24.022+01:00 L’ELISIR D’AMORE, Teatro de São Carlos, Outubro / October 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihjE2qx_dtRwz6S1UTKBtBrqoFi9j9q8FDd58HuHcYL48kggW8qnfbD9MffQemlA_oJ68chZ8YDSCfQFtCEcQXXDyAiVSOsDjHsX0kL3kUoqQlyNem71tMqHPSshDPDo17h0eBjZEpS93b63spKh9MycM5SXApwGuAZ2XDYgnvI-icbpYN-T-1VrkQ/s535/programa%20sala.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="535" data-original-width="386" height="471" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihjE2qx_dtRwz6S1UTKBtBrqoFi9j9q8FDd58HuHcYL48kggW8qnfbD9MffQemlA_oJ68chZ8YDSCfQFtCEcQXXDyAiVSOsDjHsX0kL3kUoqQlyNem71tMqHPSshDPDo17h0eBjZEpS93b63spKh9MycM5SXApwGuAZ2XDYgnvI-icbpYN-T-1VrkQ/w340-h471/programa%20sala.jpg" width="340" /></a></div><p style="text-align: center;">(review in English below)</p><p>A ópera<b> L’Elisir d’Amore </b>de <b>G Donizetti</b> abriu a temporada lírica do <b>Teatro de São Carlos</b>. Uma produção nova com encenação e cenografia de <b>Mário João Alves</b>.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv7FPHxCzT0I8Tym0pjI4-GOdv20GBE8HhZH4tjKegGXMYlcvwSdEEnLD5_70YD8qyeRv2rnEWMJuvWiyAqkSVbUag4-qbKxouoGYJzjYbwOCj9adLIx1pTadloTWXcaX0hQx9jK6MgbG7UQUZxuy7Imrx6DucdN4Y3ygBcaegsHMLVz9ygz6sV1nc/s628/cenario%201%20acto.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="365" data-original-width="628" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv7FPHxCzT0I8Tym0pjI4-GOdv20GBE8HhZH4tjKegGXMYlcvwSdEEnLD5_70YD8qyeRv2rnEWMJuvWiyAqkSVbUag4-qbKxouoGYJzjYbwOCj9adLIx1pTadloTWXcaX0hQx9jK6MgbG7UQUZxuy7Imrx6DucdN4Y3ygBcaegsHMLVz9ygz6sV1nc/w416-h242/cenario%201%20acto.jpg" width="416" /></a></div><br /><p>Duas escadas, umas mesas, cestos e caixas com (muitas) laranjas e pouco mais foram os adereços usados. A encenação foi simples mas com várias partes interessantes e de bom efeito visual, tendo tonado o espectáculo agradável de ver. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-PxR2R84CiV3NVzwml-lPGdTsdTyJOJqEaqe67xqITEd54G0OtRYr76psi-Z3680TBpQl1msHLjQ8DjAH0tc-fCvZDXhtSyeoD1NWzEbXSqlU8reN9k4htjAKasM1pnyF-oR33SeBgAfjFl2_3lhrhTKx9BmnecSn1dHTExmF7GN_wmc-HiybOd2J/s634/cenario%202%C2%BA%20acto.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="353" data-original-width="634" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-PxR2R84CiV3NVzwml-lPGdTsdTyJOJqEaqe67xqITEd54G0OtRYr76psi-Z3680TBpQl1msHLjQ8DjAH0tc-fCvZDXhtSyeoD1NWzEbXSqlU8reN9k4htjAKasM1pnyF-oR33SeBgAfjFl2_3lhrhTKx9BmnecSn1dHTExmF7GN_wmc-HiybOd2J/w436-h243/cenario%202%C2%BA%20acto.jpg" width="436" /></a></div><br /><p>Passa-se num ambiente rural, numa quinta de produção de laranjas ou similar. Antes da sua chegada (de pára-quedas) o Dr. Dulcamara lança panfletos sobre a plateia a anunciar as suas façanhas. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW0HuLUBS_MsOdiHP_bkP5Gz_sKJI40JsCnKN5FzEo7H4_qSij0jhIBNxSvv0kqztsgBUKAydzilXYw6FEHPpo7tVviC-XxctbyyjfecyGK2G4L1hJdHwzPXWZnwkfAjNPvHjslmZGrc1kDbdviTbMpg8bgr3gnxIzavl3snHMA9pwyPoPKTG4FWtm/s521/confeti.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="521" data-original-width="374" height="387" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW0HuLUBS_MsOdiHP_bkP5Gz_sKJI40JsCnKN5FzEo7H4_qSij0jhIBNxSvv0kqztsgBUKAydzilXYw6FEHPpo7tVviC-XxctbyyjfecyGK2G4L1hJdHwzPXWZnwkfAjNPvHjslmZGrc1kDbdviTbMpg8bgr3gnxIzavl3snHMA9pwyPoPKTG4FWtm/w278-h387/confeti.png" width="278" /></a></div><p>No final são também lançados sobre a plateia enormes balões simulando laranjas.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOVv_UIWVW-xzKut0S0z-__J4GcwT2VdLIchqT0abX_vK0C7cl0hDUDk7ALAINi_z7Panl5A1rRab06i6Q5dziOw8jYl650y0SfOyK6U2RvcTISc6AHRbR4nmVLr7Ler6Ax8EuZHFob5F1Am9WoVcwn59E0mjgDY9_I4M45pvwJg0WWdZ5JJ6TxQ2L/s629/pre%CC%81-final.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="298" data-original-width="629" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOVv_UIWVW-xzKut0S0z-__J4GcwT2VdLIchqT0abX_vK0C7cl0hDUDk7ALAINi_z7Panl5A1rRab06i6Q5dziOw8jYl650y0SfOyK6U2RvcTISc6AHRbR4nmVLr7Ler6Ax8EuZHFob5F1Am9WoVcwn59E0mjgDY9_I4M45pvwJg0WWdZ5JJ6TxQ2L/w407-h193/pre%CC%81-final.png" width="407" /></a></div><br /><p>O maestro <b>Antonio Pirolli</b> ofereceu-nos uma boa orquestração, mas por vezes pouco viva. A <b>Orquestra Sinfónica Portuguesa</b> esteve muito bem. Destaco o fagote (David Harrison) e a harpa (Carmen Cardeal) na famosíssima aria <i>Una furtiva lagrima</i>. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWE654HRuYY1x6B_tIzkNdxRFulQ0oF0qFq3Zsx1cTvqvVXtoTFbtYB6zdjN_xQDE-J8SBXJT7PESxvMSX5hsg_Ul1DeV4DCys38-p79PTEJKfserONTK3cDVATGHlQF-vCb6kPqyqj3Q8TawxZpm9ma2qxB9UaQgy4UW7S-UxBMAdWIhiDcfkoz7G/s1024/maestro%203.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWE654HRuYY1x6B_tIzkNdxRFulQ0oF0qFq3Zsx1cTvqvVXtoTFbtYB6zdjN_xQDE-J8SBXJT7PESxvMSX5hsg_Ul1DeV4DCys38-p79PTEJKfserONTK3cDVATGHlQF-vCb6kPqyqj3Q8TawxZpm9ma2qxB9UaQgy4UW7S-UxBMAdWIhiDcfkoz7G/w258-h344/maestro%203.JPG" width="258" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGmFUbZr3XUSsGQ9sZ6PTXviCdqRjKNUjElc0UqWp3jLG7KTsIuyZYhOvabYDkNjK_uoi7yixb4hLrG2XIi0Brf9hXWgOGvn70iNfKaKRyZGrpxytv5FA5sj87HVr_PLCe0Y-QLFkLX3UqJT_x_756oWPUT9o9IOSPHjF79x59TCpwlEgXkiGOEb5i/s413/Maestro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="413" data-original-width="173" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGmFUbZr3XUSsGQ9sZ6PTXviCdqRjKNUjElc0UqWp3jLG7KTsIuyZYhOvabYDkNjK_uoi7yixb4hLrG2XIi0Brf9hXWgOGvn70iNfKaKRyZGrpxytv5FA5sj87HVr_PLCe0Y-QLFkLX3UqJT_x_756oWPUT9o9IOSPHjF79x59TCpwlEgXkiGOEb5i/w141-h337/Maestro.jpg" width="141" /></a> <br /><br /></div><div><br /></div><div>O <b>Coro do Teatro de São Carlos</b>, sob a direcção de <b>Giampaolo Vesselia </b>teve uma prestação excelente.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAfKZQRiI4zB7v0oScij_Qd--zuU6KqqfZY6ArCJFlgudCQqEz83bYLIxSoc3tzAEQy7NyYeYqEGDLuZdf6Z-IhXm1PE68cK83Ir2CBoI6Y_s_pqzqR1XLqWhKvDvVXoEYDnhsfaC3tPTE8JI__L0gujdT7WmOtM7n_EkMp_rne1ltlBGNgeS0iBE2/s633/coro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="317" data-original-width="633" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAfKZQRiI4zB7v0oScij_Qd--zuU6KqqfZY6ArCJFlgudCQqEz83bYLIxSoc3tzAEQy7NyYeYqEGDLuZdf6Z-IhXm1PE68cK83Ir2CBoI6Y_s_pqzqR1XLqWhKvDvVXoEYDnhsfaC3tPTE8JI__L0gujdT7WmOtM7n_EkMp_rne1ltlBGNgeS0iBE2/w406-h203/coro.jpg" width="406" /></a></div><p>Os solistas eram todos jovens, o que é óptimo, mas as interpretações não foram ao mesmo nível. O Nemorino foi interpretado pelo tenor espanhol <b>Antonio Garés</b>. Tem uma boa figura mas a emissão foi irregular, alternando períodos em que era bem audível com outros que mal se ouvia. O timbre é peculiar e, no registo mais agudo, parece cantar em falsete. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDCCvcr00svWWQ5RcsYmhEvUSSry4VJktqH9IB0KFcw8eoRCNJEVmYIuWpmF4waTfD75MNrBVVOBihu439m9P3mgRVS1r83mp3kd50axunnJg_FIl3LmPy_GfAIKqfel9x_EuRLhlLgJyRJoXtMDkU-qB_cNtSNKs1HwBEv8pexDKIGip8e59Vcsx3/s473/Nemorino.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="473" data-original-width="317" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDCCvcr00svWWQ5RcsYmhEvUSSry4VJktqH9IB0KFcw8eoRCNJEVmYIuWpmF4waTfD75MNrBVVOBihu439m9P3mgRVS1r83mp3kd50axunnJg_FIl3LmPy_GfAIKqfel9x_EuRLhlLgJyRJoXtMDkU-qB_cNtSNKs1HwBEv8pexDKIGip8e59Vcsx3/w266-h398/Nemorino.jpg" width="266" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-ti6fHUH4eY4fjiQ7riOaq8TqKuQ3XohE794OQ-uLWIfGDyFzIxEQKVIYNq_LEQHhPjavTlcSLgIXa3Qj1ZFdbw5vnuSlQsAw7ibog2pX8ymVzGmtcfzEy2xllGi_-wHHRtMAEXf4XnaIQKmuB6rFOcaG7thIYmE6Ur4SDu7RxEILP6tXlo_0J5Qt/s1024/Nemorino2.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-ti6fHUH4eY4fjiQ7riOaq8TqKuQ3XohE794OQ-uLWIfGDyFzIxEQKVIYNq_LEQHhPjavTlcSLgIXa3Qj1ZFdbw5vnuSlQsAw7ibog2pX8ymVzGmtcfzEy2xllGi_-wHHRtMAEXf4XnaIQKmuB6rFOcaG7thIYmE6Ur4SDu7RxEILP6tXlo_0J5Qt/w315-h420/Nemorino2.JPG" width="315" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;">A soprano </span><b style="text-align: left;">Rita Marques</b><span style="text-align: left;"> foi a Adina, que não começou bem mas melhorou ao longo da récita e no final do 2º acto teve um desempenho marcante, com um registo agudo seguro e afinado. Em palco, não transmitiu qualquer atracção nem pelo Belcore nem pelo Nemorino, situação idêntica da parte deles.</span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDCY_De91yODkcCcGvzFzvQe43wxJRM28A8cZa8bxyFgosyNEmBLIFO0TtZo_0cbdmFXLmSG6ke4l435ib28AXd3Hu_CZpTtv8nyo5QSgE0g1BAPDjXmjFpmUZLl0TlJOoxGtz6kh8q1_Rd0C_VGsmgHK4HyQWO-GG0beeB_mHwUrG00MOYtM5prPJ/s1024/Adina%202.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="445" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDCY_De91yODkcCcGvzFzvQe43wxJRM28A8cZa8bxyFgosyNEmBLIFO0TtZo_0cbdmFXLmSG6ke4l435ib28AXd3Hu_CZpTtv8nyo5QSgE0g1BAPDjXmjFpmUZLl0TlJOoxGtz6kh8q1_Rd0C_VGsmgHK4HyQWO-GG0beeB_mHwUrG00MOYtM5prPJ/w334-h445/Adina%202.JPG" width="334" /></a></div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2VcoNANmp7qTESO9pq-8YzwBod3mPsA1WLNA-_Snp73OqIOQZgdznyjTG6TTvZdig0mZye7gocYMnwHXtut1fL2JVktvJKRte3kd_qu-28t1QpQiA9XOj2M7EWvRixOrWiuTIbWB3A5CS_Iu7hcXog5cZuWu1AyO_WCvtgmrxLrlPqxypZqB36119/s395/Adina.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="395" data-original-width="360" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2VcoNANmp7qTESO9pq-8YzwBod3mPsA1WLNA-_Snp73OqIOQZgdznyjTG6TTvZdig0mZye7gocYMnwHXtut1fL2JVktvJKRte3kd_qu-28t1QpQiA9XOj2M7EWvRixOrWiuTIbWB3A5CS_Iu7hcXog5cZuWu1AyO_WCvtgmrxLrlPqxypZqB36119/w363-h398/Adina.jpg" width="363" /></a></div><br /><p>O barítono <b>Ricardo Panela</b>, cantor que muito aprecio, foi um Belcore vocalmente correcto, mas a figura não se ajusta à personagem. É demasiado jovem e franzino para o papel do sargento. A encenação e o guarda-roupa também não ajudaram.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8StUL7wwkXyIAsVVF4DaTyAnSuRsA2vLa2Hd8UcEVOQBmSNSfBe0952S02aOKeYit14IOi1q_A6j1eiU5Bl4gCPUFbxIs-eykGronTkGIc4KjSHEX6D4CGZC8FGaoPQ3WgLpSu3VcFIBM-AOvQZgR-aroXMH-r92U9pxIzE_Ikvw-z7kB45117t1b/s1024/Belcore%202.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="457" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8StUL7wwkXyIAsVVF4DaTyAnSuRsA2vLa2Hd8UcEVOQBmSNSfBe0952S02aOKeYit14IOi1q_A6j1eiU5Bl4gCPUFbxIs-eykGronTkGIc4KjSHEX6D4CGZC8FGaoPQ3WgLpSu3VcFIBM-AOvQZgR-aroXMH-r92U9pxIzE_Ikvw-z7kB45117t1b/w343-h457/Belcore%202.JPG" width="343" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDFhXqqT0bMEHQm3H9OlOjaY_VFodSOPXGVvyh9u4MAv3mvFlkopu3kuh41NdH5lx5rwlBA0VrBjUbjbyHLeXp7aHHdCk-VsymNQ05k9RLyIv8gNI616oB27GvR3L5MbDQe14ZCadswDGD2zxRDV46yh6BrNfm0B8naSerQVDRcDwM_4dJTrDRoGD-/s460/Belcore.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="460" data-original-width="278" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDFhXqqT0bMEHQm3H9OlOjaY_VFodSOPXGVvyh9u4MAv3mvFlkopu3kuh41NdH5lx5rwlBA0VrBjUbjbyHLeXp7aHHdCk-VsymNQ05k9RLyIv8gNI616oB27GvR3L5MbDQe14ZCadswDGD2zxRDV46yh6BrNfm0B8naSerQVDRcDwM_4dJTrDRoGD-/w272-h450/Belcore.jpg" width="272" /></a></div><p>O melhor da tarde foi o o baixo chileno <b>Ricardo Seguel</b> como Dulcamara. Tem uma voz poderosa, sempre bem audível, timbre muito bonito e em cena foi o mais credível.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_f-m9GG_0kg_kZD-FRrdNICmI-K7HH_pW4z3Qayjc8a9EeWhOPUlTR0yBcx1sdCqpDsibRXJYhBa-sMy_pBlrIkm6EKgPOlB12W_zPr62pvIBpKgNgc6LsPPvy87nqIj4I0pDRfF6orfOGc4NcwDlBM0Lc2o4W0iVN7IfV2cBlQAJ8RGUD7SjKtRg/s1024/Dulcamara%202.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_f-m9GG_0kg_kZD-FRrdNICmI-K7HH_pW4z3Qayjc8a9EeWhOPUlTR0yBcx1sdCqpDsibRXJYhBa-sMy_pBlrIkm6EKgPOlB12W_zPr62pvIBpKgNgc6LsPPvy87nqIj4I0pDRfF6orfOGc4NcwDlBM0Lc2o4W0iVN7IfV2cBlQAJ8RGUD7SjKtRg/w298-h397/Dulcamara%202.JPG" width="298" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYkXpg7UyoswW3aiATiVZcBBe1OGzwHnclmwGy9hdMUoCPPdfDtt01j11aKzCQLkywaW-IKW5Fjc52gFcMm8JCL50P--ujI0_2Ru-2yVlOJDVajjSrcuoJwpZEmSdV73ZXlu0Yfmjn_rAJP6vIV3cfR2GGfS50yALOmY82ex2VgZEOExRdUomR-xj7/s425/Dulcamara.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="425" data-original-width="309" height="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYkXpg7UyoswW3aiATiVZcBBe1OGzwHnclmwGy9hdMUoCPPdfDtt01j11aKzCQLkywaW-IKW5Fjc52gFcMm8JCL50P--ujI0_2Ru-2yVlOJDVajjSrcuoJwpZEmSdV73ZXlu0Yfmjn_rAJP6vIV3cfR2GGfS50yALOmY82ex2VgZEOExRdUomR-xj7/w311-h427/Dulcamara.jpg" width="311" /></a></div><p>A Giannetta cantada por <b>Joana Seara</b> foi uma presença agradável.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDfLciwrhMvbD5u7FfWsXbMRNINpB-BQG2mULlLWEpls_agjpuT8qf6fJ3lRFriChSSWy9ZVa0NmvQn7ItKkI_s_SbizguDDShkCsdlpCCNR8F54cvFMKbh2DNUwTENw9zXdA_FOgi0BH0SmGcsKoAHipp2UpHCqpd-504GwN8xa22sAS2qLtkjftw/s446/Gianetta.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="446" data-original-width="248" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDfLciwrhMvbD5u7FfWsXbMRNINpB-BQG2mULlLWEpls_agjpuT8qf6fJ3lRFriChSSWy9ZVa0NmvQn7ItKkI_s_SbizguDDShkCsdlpCCNR8F54cvFMKbh2DNUwTENw9zXdA_FOgi0BH0SmGcsKoAHipp2UpHCqpd-504GwN8xa22sAS2qLtkjftw/w228-h410/Gianetta.jpg" width="228" /></a></div><div class="separator" style="clear: both; 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text-align: center;"><br /></div><p><span style="font-size: x-large;">***</span></p><p><br /></p><p><span style="color: #2b00fe; font-size: large;">L'ELISIR D'AMORE, Teatro de São Carlos, October 2022</span></p><p>The opera <b>L'Elisir d'Amore</b> by<b> G Donizetti</b> opened the lyrical season at <b>Teatro de São Carlos.</b> A new production with production and staging by <b>Mário João Alves</b>.</p><p>Two ladders, some tables, and baskets and boxes with (many) oranges were the props used. The staging was pleasant, had several interesting parts and good visual effect, making the performance pleasant to watch. It takes place in a rural setting, on an orange farm or similar. Before his arrival (by parachute) Dr. Dulcamara throws pamphlets over the audience announcing her achievements. At the end, huge balloons simulating oranges are also thrown over the audience.</p><p>Maestro <b>Antonio Pirolli</b> offered us a good orchestration, but sometimes not very lively, and the <b>Orquestra Sinfónica Portuguesa </b>played very well. I highlight the bassoon (David Harrison) and the harp (Carmen Cardeal) in the very famous aria <i>Una furtiva lagrima</i>. The <b>São Carlos Theater Choir</b>, under the direction of <b>Giampaolo Vesselia</b>, had an excellent performance.</p><p>The soloists were all young, which is great, but the performances weren't on the same level. Nemorino was interpreted by Spanish tenor<b> Antonio Garés</b>. He has a good figure but the vocal emission was irregular, alternating periods in which he was very audible with others that were barely audible. The timbre is peculiar and, in the highest register, he seems to sing in falsetto.</p><p>Soprano <b>Rita Marques</b> was Adina, who did not start well but improved throughout the performance and at the end of the 2nd act she had a remarkable performance, with a secure and in tune high register. On stage, she didn't show any attraction for either Belcore or Nemorino, a similar situation on their part as well.</p><p>Baritone <b>Ricardo Panela</b>, a singer I really appreciate, was a vocally correct Belcore, but the figure of the singer doesn't fit the character. He's too young and skinny for the role of sergeant. The staging and clothes didn't help either.</p><p>The best singer of the afternoon was the Chilean bass <b>Ricardo Seguil</b> as Dulcamara. He has a powerful voice, always very audible, very beautiful timbre and scenically he was the most credible.</p><p>Giannetta sung by <b>Joana Seara</b> was a pleasant presence.</p><p><span style="font-size: large;">***</span></p><br />Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com1tag:blogger.com,1999:blog-6732274191821624755.post-70814625361586369682022-10-07T06:36:00.001+01:002022-10-07T06:36:34.573+01:00A CANÇÃO DA TERRA / DAS LIED VON DER ERDE, Fundação Gulbenkian, Outubro 2022<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4UhY6XlqYB9Ir5_J5xdxtVzwPxyChKVZaQSy7-hjK-AuI11zx3zOuPL971go53SauOkRRqSpquPaGW9knDFs5iUHCIOnqM8r_SSjtO-SLOtM7a4B5iO3y4Cn6l46bcqsuehaVPCNOB7KK9Oxa-LpFevi3tavp6Ix51zBXKtclprKqFU9PxNu0DtbV/s576/anuncio%20concerto%20FCG.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="507" data-original-width="576" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4UhY6XlqYB9Ir5_J5xdxtVzwPxyChKVZaQSy7-hjK-AuI11zx3zOuPL971go53SauOkRRqSpquPaGW9knDFs5iUHCIOnqM8r_SSjtO-SLOtM7a4B5iO3y4Cn6l46bcqsuehaVPCNOB7KK9Oxa-LpFevi3tavp6Ix51zBXKtclprKqFU9PxNu0DtbV/w382-h337/anuncio%20concerto%20FCG.png" width="382" /></a></div><p></p><p style="text-align: center;">(review in English below)</p><p>Sob a direcção do maestro <b>Hannu Lintu</b>, o meu primeiro espectáculo desta temporada na <b>Fundação Calouste Gulbenkian</b> foi “<b>Das Lied von der Erde / A Canção da Terra</b>” de <b>Gustav Mahler</b>. O concerto incluiu também uma obra para piano e Orquestra de Thomas Adès.</p><p>Como nos foi recordado no texto da Fundação Gulbenkian, trata-se de um ciclo de canções orquestrais melancólicas, inspirado em poemas chineses, sobre como lidamos com a natureza e a vida. Sempre tive em relação a esta obra alguns sentimentos ambivalentes porque, das 6 canções que a integram, não sou grande fã das primeiras mas considero a última (<i>Der Abschied </i>/ A despedida) uma das mais belas peças musicais do compositor.</p><p>A <b>Orquestra Gulbenkian</b> ofereceu-nos um bom espectáculo. O tenor letão <b>Mihails Culpajevs</b> cumpriu sem deslumbrar. A mezzo alemã <b>Christa Maye</b>r, que admirei há 2 meses no Festival de Bayreuth foi a melhor da noite, com interpretações muito boas, em particular na última canção (<i>Der Abschied</i>).</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWJkSXx9FfSVRacZIK7DkPG9QIERU9CoR_UY3ep9Ie8QX1ETN3-ajlTyR_rx18xi3RADK5GdZTiMvuAlCUcDX7DLXsm_ZRrgBnU-rtA2FQV13u099t2UqRauw2KS-LMwb8SmJB7oAmbiXVZDt0ZXTMtsb0U3JjsSvi1WWK-M94KzXCta83csQW5ktB/s448/solistas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="318" data-original-width="448" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWJkSXx9FfSVRacZIK7DkPG9QIERU9CoR_UY3ep9Ie8QX1ETN3-ajlTyR_rx18xi3RADK5GdZTiMvuAlCUcDX7DLXsm_ZRrgBnU-rtA2FQV13u099t2UqRauw2KS-LMwb8SmJB7oAmbiXVZDt0ZXTMtsb0U3JjsSvi1WWK-M94KzXCta83csQW5ktB/w414-h294/solistas.jpg" width="414" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdBCW2EM5gEB6nguVvCfSmE1PSAtrsJFnWQWhk9XVv63eao8xhGP1o0NoO0S7zAF3FSaJ6GuPeA3vVaq606y5X2FsDlEtaJjdDOUexhthT-CfFTzP4oU5QjPi6XzSvwgNPPopHmxd01cE4egcnGGxIHsbTeKF6TjgSSUX_SGom3nBbvvOUMsHHklsk/s636/tutti1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="357" data-original-width="636" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdBCW2EM5gEB6nguVvCfSmE1PSAtrsJFnWQWhk9XVv63eao8xhGP1o0NoO0S7zAF3FSaJ6GuPeA3vVaq606y5X2FsDlEtaJjdDOUexhthT-CfFTzP4oU5QjPi6XzSvwgNPPopHmxd01cE4egcnGGxIHsbTeKF6TjgSSUX_SGom3nBbvvOUMsHHklsk/w414-h232/tutti1.jpg" width="414" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZY1RgJLQzMa0oun4_C8FCpitvGP8PWOH37roPV_d8L-gvHQvC0D3oa9hxRgzWPyrxVBBeaG9yLKMqrFliqMRugVaF9KepcBssWoUSNyJCvN6nzAS3QRFzJLcykLwzY4H0xbXI4y3iYdt0wc5e_Cga4zNj-DLImT9KdKNQA0LufAYt0ulvT3cujL2-/s634/tutti2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="311" data-original-width="634" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZY1RgJLQzMa0oun4_C8FCpitvGP8PWOH37roPV_d8L-gvHQvC0D3oa9hxRgzWPyrxVBBeaG9yLKMqrFliqMRugVaF9KepcBssWoUSNyJCvN6nzAS3QRFzJLcykLwzY4H0xbXI4y3iYdt0wc5e_Cga4zNj-DLImT9KdKNQA0LufAYt0ulvT3cujL2-/w417-h205/tutti2.jpg" width="417" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p><span style="font-size: large;">***</span></p><p><span style="color: #2b00fe; font-size: large;"> DAS LIED VON DER ERDE, Gulbenkian Foundation, October 2022.</span></p><p>Under the direction of conductor <b>Hannu Lintu</b>, my first show this season at the <b>Calouste Gulbenkian Foundation</b> was “<b>Das Lied von der Erde / A Canção da Terra</b>” by <b>Gustav Mahler.</b> The concert also included a work for piano and Orchestra by Thomas Adès.</p><p>As we were reminded in the text by the Gulbenkian Foundation, it is a cycle of melancholic orchestral songs, inspired by Chinese poems, about how we deal with nature and life. I've always had some ambivalent feelings about this work because, of the 6 songs that make it up, I'm not a big fan of the first ones but I consider the last one (<i>Der Abschied</i> / A Farewell) one of the most beautiful pieces of music by the composer.</p><p>The <b>Gulbenkian Orchestra</b> offered us a good show. Latvian tenor <b>Mihails Culpajevs</b> sung without dazzling. The German mezzo <b>Christa Mayer</b>, whom I admired 2 months ago at the Bayreuth Festival, was the best of the night, with very <span style="font-size: large;">good performances, particularly in the last song (<i>Der Abschied</i>).</span></p><p><span style="font-size: large;">***</span></p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com4tag:blogger.com,1999:blog-6732274191821624755.post-55421187757103919592022-10-05T06:37:00.003+01:002022-10-24T20:15:33.742+01:00 MADAMA BUTTERFLY, Royal Opera House, Setembro / September 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_pFxe__m1J_fY07O1gfFjlGIM6gm6A-UiW6SGGiE34nPS1RaqXmaCR3LDMq1Dh5EDisVif6nKmQ7QufnlKzHAUaELdAoMI1blmPkHPkS4gpJfkNoNd1JXhPlJGifbb_8Op7xilCCJgSiefc168GYtZvL2B3yFEz7DozOmk0aQqgCd-8egX3nxtn4U/s639/cartaz.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="639" data-original-width="468" height="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_pFxe__m1J_fY07O1gfFjlGIM6gm6A-UiW6SGGiE34nPS1RaqXmaCR3LDMq1Dh5EDisVif6nKmQ7QufnlKzHAUaELdAoMI1blmPkHPkS4gpJfkNoNd1JXhPlJGifbb_8Op7xilCCJgSiefc168GYtZvL2B3yFEz7DozOmk0aQqgCd-8egX3nxtn4U/w306-h418/cartaz.jpg" width="306" /></a></div><p style="text-align: center;">(Review in English below)</p><p>Já várias vezes escrevi neste blogue sobre a <b>Madama Butterfly</b>, uma das minhas operas favoritas de <b>Puccini</b>. E algumas delas sobre a excelente produção, clássica, da <b>Royal Opera House</b>, que é frequentemente levada à cena nos últimos anos.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHvFhvLk9YRgyJUiIC11rjZZ7L0HDJvc38J6UnSx8xU6QfSHRjG7_xRopxBUMkbx1V32gu8yJwv32HUWtAXpJgbuber2NO20F6xDMOCKDClgra2FGmk8qPaC82v1LRx_cM-zh5DRd-sD5GO-E1l79Q6JTmu1QCLDMNqtMNjqgSJdxy7_LN70zQk7b4/s640/programa.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHvFhvLk9YRgyJUiIC11rjZZ7L0HDJvc38J6UnSx8xU6QfSHRjG7_xRopxBUMkbx1V32gu8yJwv32HUWtAXpJgbuber2NO20F6xDMOCKDClgra2FGmk8qPaC82v1LRx_cM-zh5DRd-sD5GO-E1l79Q6JTmu1QCLDMNqtMNjqgSJdxy7_LN70zQk7b4/w306-h408/programa.jpg" width="306" /></a></div><p>Ao contrário do que é a regra nesta excelente catedral da ópera, nos últimos anos os elencos escolhidos têm sido maus, o que não faz justiça à magnífica obra do compositor.</p><p>Infelizmente desta vez voltou a ser assim, exceptuando a interpretação da protagonista, que salvou a récita porque a ópera vive sobretudo dela.</p><p>O maestro <b>Nicola Luisotti</b>, com créditos afirmados, teve uma direcção nada empolgante ou emotiva.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8aaVbUyAEpRkXk3KO8cZ7IUNFHBRsh6DBiULAtbRE976RgV7pBpjZoukfOQ5Pc7IPOKVfdHuofP-Rlljnb7iA4ua01mVG4N4KlcVm54lSVmZ6NaNdhvgs0gnessV_4LHxSNbgOhY0CPx4Lj-y2NfxUoW7vSS_r2SnC249JGrDpsxpIPf5yVP7ooYV/s359/maestro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="359" data-original-width="146" height="471" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8aaVbUyAEpRkXk3KO8cZ7IUNFHBRsh6DBiULAtbRE976RgV7pBpjZoukfOQ5Pc7IPOKVfdHuofP-Rlljnb7iA4ua01mVG4N4KlcVm54lSVmZ6NaNdhvgs0gnessV_4LHxSNbgOhY0CPx4Lj-y2NfxUoW7vSS_r2SnC249JGrDpsxpIPf5yVP7ooYV/w191-h471/maestro.jpg" width="191" /></a></div><p>O tenor <b>Joshua Guerrero</b>, de boa figura, foi vocalmente débil, deixou-se afogar frequentemente pela orquestra e cantou com idêntica expressão quer os momentos de felicidade, quer os de tristeza e remorso.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJJXLGcDbIIzU2nZJZnfUQ5g1seRrjiiTwtxzIcPKc80ssSwxW1zKOy0ELIFCWmmOX8M2ZB9g9cMLQNuCRKoV8xQGkt0GlTfMyIia2SIcPXGMrEthamiZ4Mk7fgRKU9VTX8-fz9cLuiTXUSby1P8sXVfVqAq-EhFVUUQDgR812he7QCt_i8oI6gIT3/s380/Pinkerton.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="380" data-original-width="159" height="447" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJJXLGcDbIIzU2nZJZnfUQ5g1seRrjiiTwtxzIcPKc80ssSwxW1zKOy0ELIFCWmmOX8M2ZB9g9cMLQNuCRKoV8xQGkt0GlTfMyIia2SIcPXGMrEthamiZ4Mk7fgRKU9VTX8-fz9cLuiTXUSby1P8sXVfVqAq-EhFVUUQDgR812he7QCt_i8oI6gIT3/w187-h447/Pinkerton.jpg" width="187" /></a></div><br /><p>O barítono<b> Carlos Alvarez</b> parecia que estava a cantar em mono e a ensaiar. Mal se ouviu e também sem transparecer qualquer sensibilidade.</p><div class="separator" style="clear: both; text-align: center;"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_hRz5dqzJu8jMqWvRkBvloLzP6YHsRNNVYhssR6HNjjgb70HYshMV9w9Y3yVWJCDFnScv34wwXQd4MYbYPxqdYb_Q-hk8Tew9OCKxgWgwrl24nHMcdgyXgfQSZLwANf7cDYllGYI51CODxfflkmK57hR70-Zi48cW4Qwt9YfVqjmS93ErLZaL2bpJ/s392/Consul.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="392" data-original-width="192" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_hRz5dqzJu8jMqWvRkBvloLzP6YHsRNNVYhssR6HNjjgb70HYshMV9w9Y3yVWJCDFnScv34wwXQd4MYbYPxqdYb_Q-hk8Tew9OCKxgWgwrl24nHMcdgyXgfQSZLwANf7cDYllGYI51CODxfflkmK57hR70-Zi48cW4Qwt9YfVqjmS93ErLZaL2bpJ/w220-h448/Consul.jpg" width="220" /></a></div><br /><p>A mezzo <b>Christine Rice</b> cumpriu o papel de Suzuki sem deslumbrar, tal como<b> Carlo Bosi </b>como Goro. Em papéis curtos estiveram 2 artistas do Jette Parker, <b>Josef Jeongmeen Ahn </b>como Princepe Yamadori e <b>Gabriele Kupsyte</b> como Kate Pinkerton</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEYPDJS-Rrh_FnSCkdT1r117GZiaDRRE9zZafg_hHghGGaXoa7_tW2IW9-yNeJ32732J85Wo2sTqYknLs4HOWeJFDo79FrJVxlL2zNTSSdd-DNChCMzpL3Uz0l_DkMmFagL16XdOybq0bNtu8VINy7Z0T7hjLTEMIXSp7qdAxzx3WGmmFcGT2xPRLg/s375/Suzuki.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="209" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEYPDJS-Rrh_FnSCkdT1r117GZiaDRRE9zZafg_hHghGGaXoa7_tW2IW9-yNeJ32732J85Wo2sTqYknLs4HOWeJFDo79FrJVxlL2zNTSSdd-DNChCMzpL3Uz0l_DkMmFagL16XdOybq0bNtu8VINy7Z0T7hjLTEMIXSp7qdAxzx3WGmmFcGT2xPRLg/s320/Suzuki.jpg" width="178" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBfhz4VM-iAQqR9R-mHKdApjbTGeWcp6rYmpcCgSf1SDcd8OIHT3V9nMnYoZTphCv-1WNjzNl5sCqGod4T9untaeSGf-9379H9Ms_1TJCyZ359awuLjDJo2mG0mi14ZFIJS1W-H6IaBFV9juASwF6YKOmzuY2j_srxsVScA1_lvhffRBdrdzwr_PYL/s382/Goro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="382" data-original-width="199" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBfhz4VM-iAQqR9R-mHKdApjbTGeWcp6rYmpcCgSf1SDcd8OIHT3V9nMnYoZTphCv-1WNjzNl5sCqGod4T9untaeSGf-9379H9Ms_1TJCyZ359awuLjDJo2mG0mi14ZFIJS1W-H6IaBFV9juASwF6YKOmzuY2j_srxsVScA1_lvhffRBdrdzwr_PYL/s320/Goro.jpg" width="167" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgglEZuXwZYWN8W-ymyrcdA19yXstTPIDYHPn3Gdy7-ZddNJMXxqUsZ8emIj_fvXGR5OfwciQdU083O-Pl285nXkHegBlSrkc0Q-pumNMxCAkEsYGHRYV41AV90L8AHY8dtT1yMDic1Vxr0d3JOilI-tSpTCzYlI1YeBzIQd0jseh9JYYoani4s0pqJ/s390/Yamadori.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="390" data-original-width="149" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgglEZuXwZYWN8W-ymyrcdA19yXstTPIDYHPn3Gdy7-ZddNJMXxqUsZ8emIj_fvXGR5OfwciQdU083O-Pl285nXkHegBlSrkc0Q-pumNMxCAkEsYGHRYV41AV90L8AHY8dtT1yMDic1Vxr0d3JOilI-tSpTCzYlI1YeBzIQd0jseh9JYYoani4s0pqJ/s320/Yamadori.jpg" width="122" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy7OCA7miBlBqs5yX6Jwz5EnL3v5Sa_zCVjMvpp01ovEqDFhII33QPSReivtIFlAFCT9HPJ5nHAmA_VQhh3NZ4Ft5RUv8hYbSoXpFP70ae91AUJfG98JtPIZxaX1zRobETjGx1wreeUVrSYYAtcxp_SHhkFg1BQf_qvEgh3G3SCiuN0gNSdyMiKO-V/s428/Kate.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="428" data-original-width="248" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy7OCA7miBlBqs5yX6Jwz5EnL3v5Sa_zCVjMvpp01ovEqDFhII33QPSReivtIFlAFCT9HPJ5nHAmA_VQhh3NZ4Ft5RUv8hYbSoXpFP70ae91AUJfG98JtPIZxaX1zRobETjGx1wreeUVrSYYAtcxp_SHhkFg1BQf_qvEgh3G3SCiuN0gNSdyMiKO-V/s320/Kate.jpg" width="185" /></a><br /><br /></div><p>A protagonista, soprano <b>Maria Agresta </b>não começou da melhor maneira mas, após o primeiro acto, teve uma interpretação magnífica, irrepreensível do ponto de vista vocal e em palco foi muito convincente, transbordando as emoções próprias de cada momento. É uma interpretação enorme e de grande exigência cénica e vocal e esteve à altura. Salvou a récita.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFfMgMeto-CQTHhoZjaDTFdG1t4XLGfaCF1WAHqNJHRSxKMgFKGgxK0R1Jg_4_zAYTgWpGPZxJWWbW8ZSsgTHHmAcFMmuXWRUbRx2923ECXjSWvIscSOvs7gTo5QsCHMXAYE5jIIgbu-UerFiGWRiPe5VV2Fh7960HkyAv6YSIwILw02Bnim9Gj3MP/s572/Butterfly.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="365" data-original-width="572" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFfMgMeto-CQTHhoZjaDTFdG1t4XLGfaCF1WAHqNJHRSxKMgFKGgxK0R1Jg_4_zAYTgWpGPZxJWWbW8ZSsgTHHmAcFMmuXWRUbRx2923ECXjSWvIscSOvs7gTo5QsCHMXAYE5jIIgbu-UerFiGWRiPe5VV2Fh7960HkyAv6YSIwILw02Bnim9Gj3MP/w404-h258/Butterfly.jpg" width="404" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc_geM39fbWkZ0rPqgoPnZcWC5k-ZYuXAEfrilB9LFMo-_lP28efVz2XJiHZg8iVggR1N6AyRC3Q06p2HjQIg3jWQeDYyGr8Ti7_p7aqIirvDVlWSQCtJWAxVLv8vXjsqy8LEOrAuvCLQqqDJJiYzhyZ9F5bdkf1bhPsbUBcQ07W7HHzEmmV8zqifC/s340/Butterfly2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="195" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc_geM39fbWkZ0rPqgoPnZcWC5k-ZYuXAEfrilB9LFMo-_lP28efVz2XJiHZg8iVggR1N6AyRC3Q06p2HjQIg3jWQeDYyGr8Ti7_p7aqIirvDVlWSQCtJWAxVLv8vXjsqy8LEOrAuvCLQqqDJJiYzhyZ9F5bdkf1bhPsbUBcQ07W7HHzEmmV8zqifC/w290-h504/Butterfly2.jpg" width="290" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtXGmS3hQG9YP-GIVZ6ZUqIHXG0ljeW5IfFQvze5DJj8ez00DIprjr2m7K2vB7PVZ6YZSfTmgWmrEggeFFbJaSriwr073WP2wDL1-BoghM31ozKvPXjSR_LVQpKQm3yBRRDrv5q_pabk3ItswSgEe8w5ZhUwftyp8gjxUwlUIYXDZdyGL0KTTiCQk7/s640/tutti1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtXGmS3hQG9YP-GIVZ6ZUqIHXG0ljeW5IfFQvze5DJj8ez00DIprjr2m7K2vB7PVZ6YZSfTmgWmrEggeFFbJaSriwr073WP2wDL1-BoghM31ozKvPXjSR_LVQpKQm3yBRRDrv5q_pabk3ItswSgEe8w5ZhUwftyp8gjxUwlUIYXDZdyGL0KTTiCQk7/w445-h334/tutti1.jpg" width="445" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXLA7LwkyNxBPuMk49yzRPwKelGAzA9ZkT9IOPq_zJd3hEZRa2sRNUS2BoRpSZQJkFx50RajZGC-_7Neaj83B_pA3Q9KItw5tfKRQVcbz7R1RDl4NTrWL1wK0MiVGkZVFOPBfiLins-maIjTw17GwomisdtUJcgzmLgTYhy2QueJCBnp8BXhDRahK9/s640/tutti2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXLA7LwkyNxBPuMk49yzRPwKelGAzA9ZkT9IOPq_zJd3hEZRa2sRNUS2BoRpSZQJkFx50RajZGC-_7Neaj83B_pA3Q9KItw5tfKRQVcbz7R1RDl4NTrWL1wK0MiVGkZVFOPBfiLins-maIjTw17GwomisdtUJcgzmLgTYhy2QueJCBnp8BXhDRahK9/w441-h331/tutti2.jpg" width="441" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuqxgkMOVrVuJaFDadRl80bUGw_KTk84oyUovRcM9G4NE-CHLdJukGM-daAJ6Cfqb2H_iutHkpGEA7pMyZFd4oKwAAVNS_w3pKCO4ZdnsO5R8zffAp40CuO5oHGD3wHgRDXJ3mKGgalPtbyjcruwUgzsIpdmIkuqeUhpdyTolz2JhEqorUvhv5qxWw/s640/tutti3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuqxgkMOVrVuJaFDadRl80bUGw_KTk84oyUovRcM9G4NE-CHLdJukGM-daAJ6Cfqb2H_iutHkpGEA7pMyZFd4oKwAAVNS_w3pKCO4ZdnsO5R8zffAp40CuO5oHGD3wHgRDXJ3mKGgalPtbyjcruwUgzsIpdmIkuqeUhpdyTolz2JhEqorUvhv5qxWw/w437-h328/tutti3.jpg" width="437" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><span style="font-size: large;">**</span></p><p><span style="color: #2b00fe; font-size: medium;">MADAMA BUTTERFLY, Royal Opera House, September 2022</span></p><p>I have written several times on this blog about <b>Madama Butterfly</b>, one of my favorite operas by <b>Puccini</b>. And some of them about the excellent, classic production of the <b>Royal Opera House</b>, which has been frequently brought to the scene in recent years.</p><p>Contrary to what is the rule in this excellent cathedral of opera, in recent years the chosen casts have been bad, which does not do justice to the magnificent work of the composer.</p><p>Unfortunately this time it was like that again, with the exception of the protagonist's interpretation, who saved the performance because the opera lives mainly on her.</p><p>Conductor <b>Nicola Luisotti,</b> with his credits affirmed, had an unexciting or emotional direction.</p><p>Tenor <b>Joshua Guerrero</b>, of good figure, was vocally weak, often let himself be drowned by the orchestra and sang with the same expression both the moments of happiness and those of sadness and remorse.</p><p>Baritone <b>Carlos Alvarez </b>looked like he was singing in mono and rehearsing. He was barely heard and also without showing any emotions.</p><p>Mezzo <b>Christine Rice </b>sung the role of Suzuki without dazzling, as did <b>Carlo Bosi </b>as Goro. In short roles were 2 artists from Jette Parker, programme <b>Josef Jeongmeen Ahn</b> as Princepe Yamadori and <b>Gabriele Kupsyte</b> as Kate Pinkerton</p><p>The protagonist, soprano <b>Maria Agresta,</b> did not start off in the best way, but after the first act, she had a magnificent interpretation, irreproachable from a vocal point of view and on stage she was very convincing, overflowing with the emotions of each moment. It's a huge interpretation of great scenic and vocal demand and it lived up to it. She saved the performance.</p><p><span style="font-size: large;">**</span></p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com1tag:blogger.com,1999:blog-6732274191821624755.post-24474227235089680782022-10-03T06:37:00.002+01:002022-10-03T06:37:32.128+01:00 Simon Boccanegra, Festival Verdi, Teatro Regio di Parma, Setembro 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj36f_-AbrhCfdqoJx0Ce1MwBdYam86M4cO7R1TpACtpmsJF-uOAq63eHdiFhkkwZa5U7e6m3bHP1TAJQRBtsn8L3L_x53P-Om1enPtjlhkLE5RKf96V_F2EukmmB6zN8vJJq2E-8frX-fNEC5D3yja7v9F4IGvnVfLK-FJIKitNXB_ScD1pUUkX9zI/s1024/cartaz.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj36f_-AbrhCfdqoJx0Ce1MwBdYam86M4cO7R1TpACtpmsJF-uOAq63eHdiFhkkwZa5U7e6m3bHP1TAJQRBtsn8L3L_x53P-Om1enPtjlhkLE5RKf96V_F2EukmmB6zN8vJJq2E-8frX-fNEC5D3yja7v9F4IGvnVfLK-FJIKitNXB_ScD1pUUkX9zI/w330-h440/cartaz.jpg" width="330" /></a></div><br /><p style="text-align: center;">(Review in English below)</p><p>Assisti à ópera <b>Simão Boccanegra</b> numa encenação de <b>Valentina Carrasco</b>, sob a direcção musical de <b>Riccardo Frizza</b>.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZuPCcbfO0zm3FhYL3Ng7S4DZ8uFLZb7aQkyb6rTMxWVLBHk4CZUSuwHzf1DgF5moRE_e-Rq9GpJWtW5mxDD5g8PouOzID1JclGpQjRzjcMdHm8IADz9ax_sIEvnUBsu2xSxZcTPQzBZaTq0nY1RJSH8PWZy99hBFlkXaHPUIktkDawl-oB_pN531Z/s1024/Riccardo%20Frizza.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="437" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZuPCcbfO0zm3FhYL3Ng7S4DZ8uFLZb7aQkyb6rTMxWVLBHk4CZUSuwHzf1DgF5moRE_e-Rq9GpJWtW5mxDD5g8PouOzID1JclGpQjRzjcMdHm8IADz9ax_sIEvnUBsu2xSxZcTPQzBZaTq0nY1RJSH8PWZy99hBFlkXaHPUIktkDawl-oB_pN531Z/w328-h437/Riccardo%20Frizza.jpg" width="328" /></a></div><p>Não sendo uma daquelas noitonas operáticas, foi especial e interessante. Em parte e ilusoriamente, senti-me como que a assistir à estreia de uma nova ópera de <b>Verdi</b>. O que foi levado a palco neste Festival foi a versão original de 1857 e não a que Verdi reviu em 1881 e que é a que hoje em dia conhecemos e que vai a cena em todo o lado. Os 2º e 3º actos foram pouco alterados em 1881 e, tirando algumas variações das linhas melódicas, e pareceu-me que também do texto, é quase tudo igual. No prólogo e no 1º acto é que as coisas são mais contrastantes. A “abertura” é diferente mas com alguns motivos “conhecidos” e que depois aparecem durante a ópera, ária de Fiesco é muito parecida, a da Amélia só no início, o dueto entre Simão e Amélia diria 1/4 igual, a cena do Concílio não existe e aqui é mudada para uma festa do povo. A sensação que dá a quem ouve isto pela primeira vez como me aconteceu é que esta versão de 1857 é dramática e melodicamente mais fraca que a de 1881 e esta ideia não é só porque já tenho entranhada a de 1881, mas sim porque realmente as opções melódicas não são por vezes tão felizes, harmoniosas e unificadoras da acção.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Uo_mckmYCD3QfppSqtfJyBdUClp8n_5yJFMh6j-C2PohxRk-aptu239jGOytzVe7up3gKoPAjbPXeYazZsFyN3XIAbjZhdk8g0_lkaLJqiqGuv0CsFl2Prl5M8p5zqn0sGkFj-HGhD5kMhG37F8TfgaTHcFwxZ7W0N_sCfZzXEWwdhgE2DxcniVj/s1024/2%C2%BA%20cartaz.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Uo_mckmYCD3QfppSqtfJyBdUClp8n_5yJFMh6j-C2PohxRk-aptu239jGOytzVe7up3gKoPAjbPXeYazZsFyN3XIAbjZhdk8g0_lkaLJqiqGuv0CsFl2Prl5M8p5zqn0sGkFj-HGhD5kMhG37F8TfgaTHcFwxZ7W0N_sCfZzXEWwdhgE2DxcniVj/w369-h492/2%C2%BA%20cartaz.jpg" width="369" /></a></div><p>A encenação, na minha opinião, foi muito bem conseguida. A encenadora transpôs a acção para o século XX (talvez anos 50) para o Porto de Génova, com o povo a ser os trabalhadores desse mesmo porto, principalmente no negócio das carnes. Paolo (<b>Devid Cecconi</b>) é caracterizado como pseudo-chefe de armazém, mafioso-like, (e aqui o cantor tem o físico excelente para o efeito) </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ2V71TcEvmmxMO_rtSo9tnQVOZQYffMiAeY2nU-EPbSGi_WM9zw2W3f-5qACUg2vfmVoYT--mboYiKyTt7oX1T5HIuorXi7AYvtBshkTE2vDSbBAYZZMVg8UzAtSVfXHVroJRZ9n-dYU71l49eCHEr_p0v5rmigHWGd9LgW_KE4T3TO-Ede6EFWN3/s1024/Paolo%20Devid%20Cecconi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="419" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ2V71TcEvmmxMO_rtSo9tnQVOZQYffMiAeY2nU-EPbSGi_WM9zw2W3f-5qACUg2vfmVoYT--mboYiKyTt7oX1T5HIuorXi7AYvtBshkTE2vDSbBAYZZMVg8UzAtSVfXHVroJRZ9n-dYU71l49eCHEr_p0v5rmigHWGd9LgW_KE4T3TO-Ede6EFWN3/w314-h419/Paolo%20Devid%20Cecconi.jpg" width="314" /></a></div><p>ajudado por um Pietro (<b>Adriano Gramigni</b>) mais franzino mas com aspecto similar. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR-b5Pf1Mki28nnIuhBGXgP4quMqnjynFp_xg4pCs9QyXstUHOxoejIhJS2IqMM7svuY3tIW_ZazI_5ktwv2HRVqV2xy4RYvt1DSiejYwSriLskFi63VLOmk67K1ZTeeX-EPQGMDIWBV1DXU2ZMQXKdo-RVc-2EnbwS6U8jpykaapSKUJK4V6q75md/s1024/Pietro%20Adriano%20Gramigni.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR-b5Pf1Mki28nnIuhBGXgP4quMqnjynFp_xg4pCs9QyXstUHOxoejIhJS2IqMM7svuY3tIW_ZazI_5ktwv2HRVqV2xy4RYvt1DSiejYwSriLskFi63VLOmk67K1ZTeeX-EPQGMDIWBV1DXU2ZMQXKdo-RVc-2EnbwS6U8jpykaapSKUJK4V6q75md/w351-h468/Pietro%20Adriano%20Gramigni.jpg" width="351" /></a></div><p>No final do prólogo aparecem fotos projectadas de uma espécie de movimento revolucionário de trabalhadores, com aqueles cartazes de mão, em pau de madeira, quando na obra se exulta Simão a Doge. Aqui neste tempo, a sensação que dá é que o contexto da encenação é mais restrito, mais familiar, e que seria mais para uma espécie de líder sindical do que propriamente para uma figura de relevo político mais abrangente. A Amélia é uma florista, Gabriele Adorno talvez um dos trabalhadores (roupa pouco indicadora). A cena do Concílio não existe e é, na versão de 1857, uma festa popular. Aqui foi feita a encenação de um arraial, tipo Santos Populares, com bandeirinhas triangulares, bancas, assadores e tudo. Achei coerente. O 2º acto e 3º actos passam-se não no palácio do Doge da versão de 1881, mas sim dentro de um matadouro no Porto de Génova. Triste ver as pessoas do publico logo com “boos” antes da música começar porque vêm umas metades de vacas penduradas em cabides e trabalhadores nesses preparos. Na bancada, antes da música começar, Paolo dava ordens a uns dos trabalhadores que punham em cima da bancada um corpo humano tapado que depois sai de cena - acho que aqui uma alusão ao carácter mafioso de Paolo. Todo o 2º e 3º actos lidam com a morte (envenenamento e morte de Simão) ou desejo de morte (tentativa de assassinato de Simão por Gabriele Adorno) e por isso, no ambiente geral escolhido pela encenadora, fazer esta acção num matadouro parece-me extremamente coerente. A cena final entre Fiesco e Simão, com ambos a passarem por entre as carcaças das vacas, é genial porque, como sabe, Simão pensa que Fiesco está morto e chega a dizer “Fia ver? Risorgon dalle tombe i morti?” e Fiesco diz, seguindo a ideia, “Simone, i morti ti salutano”. Ali estão eles, no matadouro, no meio da morte. Por isso, só posso dizer que o “boo” fácil desta malta que vem para aqui passear vestidos e manias, sem perceberem nada da ópera ou de encenações, é tão triste que até dói na alma, tanta é a estupidez e a iliteracia…</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgplIZa39bSWUYOmUv3RsshDFUaexLLhF7mmTpWl5rnbDaJmPzFKnjEY2pV00TRluspSIwEQ_Mq1IUEfsL5HyMVJEpX2uHEHwqzwNKFj46PWCWJxzhz2kQms-Relc3CIrqRd_sOzuNdJqhKZNuzjHOVtFTAJFzuxDvJ2vM4521DWZrWM3UsVdsteP7K/s1024/coro.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgplIZa39bSWUYOmUv3RsshDFUaexLLhF7mmTpWl5rnbDaJmPzFKnjEY2pV00TRluspSIwEQ_Mq1IUEfsL5HyMVJEpX2uHEHwqzwNKFj46PWCWJxzhz2kQms-Relc3CIrqRd_sOzuNdJqhKZNuzjHOVtFTAJFzuxDvJ2vM4521DWZrWM3UsVdsteP7K/w405-h304/coro.jpg" width="405" /></a></div><p>No final, com tudo o que antecede a morte de Simão, os ganchos com as carcaças sobem do palco até desaparecerem e surge no fundo do mesmo, uma foto de um céu em crepúsculo, com uns holofotes colocados a meia luz simbolizando, a meu ver, as duas possibilidades de crepúsculo - um nascer de um novo dia, uma nova vida, para Amelia e Gabriele Adorno porque se acabaram de casar (aparecem ambos vestidos de branco, roupa muito simples) ao mesmo tempo que cresce no chão trigo, sinal também de vida, de alimento, de força; e um final de dia, final de vida, para Simão que agora morre. O corpo de Simão é coberto por espigas de trigo, colocadas por homens e mulheres vestidas de branco, simbolizando possivelmente a ascensão ao céu de Simão tal como o dia da espiga o é para os cristãos na ascensão de Jesus; e uma dessas mulheres com uma ovelha/cordeiro vivo ao colo, penso que também aqui com uma alusão ao seu simbolismo católico transposto para esta cena final.</p><p>Do ponto de vista dos principais cantores estiveram todos num grande momento. <b>Piero Pretti</b>, que ouvi ao vivo pela primeira vez, esteve fenomenal, bastante expressivo, muito emotivo, a voz muito bonita e perfeita para o papel. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW_peBzLbcw5pXa6zLekhhLWs55Kn6FSBu6MiB2Qxevg5RnYqWq6bCe0o9R4rizAYsG7siNwWFzyTmznxOnyLPsK2U4NAAdnBR86NUX03UkqC5u5XfDIQrYJq-bTuWIp8o2MUPkMNT7yyOyaAdARN3KGnGzgoLWdjl8DtNJnkHaKdP5B-tgGeZrE3a/s1024/Adorno%20Pietro%20Pretti.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="437" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW_peBzLbcw5pXa6zLekhhLWs55Kn6FSBu6MiB2Qxevg5RnYqWq6bCe0o9R4rizAYsG7siNwWFzyTmznxOnyLPsK2U4NAAdnBR86NUX03UkqC5u5XfDIQrYJq-bTuWIp8o2MUPkMNT7yyOyaAdARN3KGnGzgoLWdjl8DtNJnkHaKdP5B-tgGeZrE3a/w328-h437/Adorno%20Pietro%20Pretti.jpg" width="328" /></a></div><br /><p>A sua interacção/química com <b>Roberta Mantegna</b> foi muito natural tendo esta também cantado com grande segurança e dramatismo. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2urhACjB6YO9_3PxecxDgA173oGDEKZa0Ics37dpnnu6b7gKLiuNxXRIgTqz8aOVklN4Wj_ucuFvLGfbO1D3i_ubCPCKw9fUfevXuBdN0Ko3ZzuM_ZoSgjRGbAGneoxaTovEVP0Y06v954HVoAtoQf-K3Y3RSMhBNG44tUHPoTSNSNIoM6nN2USp4/s1024/Amelia%20Roberta%20Mantegna.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="439" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2urhACjB6YO9_3PxecxDgA173oGDEKZa0Ics37dpnnu6b7gKLiuNxXRIgTqz8aOVklN4Wj_ucuFvLGfbO1D3i_ubCPCKw9fUfevXuBdN0Ko3ZzuM_ZoSgjRGbAGneoxaTovEVP0Y06v954HVoAtoQf-K3Y3RSMhBNG44tUHPoTSNSNIoM6nN2USp4/w329-h439/Amelia%20Roberta%20Mantegna.jpg" width="329" /></a></div><p><b>Riccardo Zanellato</b> foi um Fiesco colossal a todos os níveis. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_N5tMiqf32iNr49BIrICVD3f1hHtuO4gjuOGKkHRAqvRKiXw-0FWd3viTEiVt1GBdOgREEdgM0XVZHdDb-FCTG2lWNi4F424UftHnbS7KaFMerB8cNtOSJ9HvVi_O1TBR3pnwtOC3dZQeN7D7cZERPU14857H0KyP3COm_C_KaP13ah_4Cx9sPWG-/s1024/Fiesco%20Riccarod%20Zanellato.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_N5tMiqf32iNr49BIrICVD3f1hHtuO4gjuOGKkHRAqvRKiXw-0FWd3viTEiVt1GBdOgREEdgM0XVZHdDb-FCTG2lWNi4F424UftHnbS7KaFMerB8cNtOSJ9HvVi_O1TBR3pnwtOC3dZQeN7D7cZERPU14857H0KyP3COm_C_KaP13ah_4Cx9sPWG-/w327-h436/Fiesco%20Riccarod%20Zanellato.jpg" width="327" /></a></div><br /><p><b>Vladimir Stoyanov</b>, embora vocalmente bastante bem, por vezes faltou-lhe alguma credibilidade cénica. Contudo, arrasou completamente no final, do ponto de vista dramático.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWVzpb8C2LpelhxyMAMze9nVa-oxXRF3g1CgiRv9wl1Cf5EpTbqYHXnYZrezxlMsT-EkVjAOp9EOPxd0-dwpkgHkQOHhLmMAQfVg-r575fWhj3fHsXvaMbNy7k3F7DCi6njVsnlKDGA87W_cs7tjXOdzEoxuqrog1sreL7Y5QIOsWmKW8K_CuZMdll/s1024/Simon%20Vladimir%20Stoyanov.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWVzpb8C2LpelhxyMAMze9nVa-oxXRF3g1CgiRv9wl1Cf5EpTbqYHXnYZrezxlMsT-EkVjAOp9EOPxd0-dwpkgHkQOHhLmMAQfVg-r575fWhj3fHsXvaMbNy7k3F7DCi6njVsnlKDGA87W_cs7tjXOdzEoxuqrog1sreL7Y5QIOsWmKW8K_CuZMdll/w354-h472/Simon%20Vladimir%20Stoyanov.jpg" width="354" /></a></div><p>Foi pena que os aplausos do público tivessem sido tão contidos. Vi alguma desilusão, por isso, na cara de Stoyanov e Pretti nos agradecimentos. Não se ouviu a melhor versão do Simão Boccanegra, é certo (a de 1881 bate a original em tudo) mas foi uma grande produção, com cantores, maestro, orquestra e encenadora que mereciam muito mais reconhecimento do público no final.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFX9uNTlGysvaQ9e7YEI8RmycBQxzshpsBYEKCzRpIWpGfbqB3FGBnkXw0pKYr0OM3XFqmPbQDNV8ZVwjAO-ycHfY5BUvMK_Wbor3BhZLgjJOp1lDaNQzDnNx0y9pF99gEnJL9s3F3_0uz_gx_HbfS0ZowShYbYywaX3tVk9txei4zIPMmFp4zGVXR/s1024/tutti1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFX9uNTlGysvaQ9e7YEI8RmycBQxzshpsBYEKCzRpIWpGfbqB3FGBnkXw0pKYr0OM3XFqmPbQDNV8ZVwjAO-ycHfY5BUvMK_Wbor3BhZLgjJOp1lDaNQzDnNx0y9pF99gEnJL9s3F3_0uz_gx_HbfS0ZowShYbYywaX3tVk9txei4zIPMmFp4zGVXR/w432-h324/tutti1.jpg" width="432" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQpuccU5l15XD3dTg5PBOE4urBm7Vr0Z7e6IggYbBL43g3E2LU195WBW_wKWbn6s8MDpCCxX54tvdRoPqyddAfXomMoJiR97tY8abOJsRueh5LX5fYd4qoRSXZ1PgKQfdYX4Wma43agu0B1JiYHbTc9MyvIVjwLFx6kL_67tgGRAwtEOfe6BZV6vyY/s1024/tutti2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQpuccU5l15XD3dTg5PBOE4urBm7Vr0Z7e6IggYbBL43g3E2LU195WBW_wKWbn6s8MDpCCxX54tvdRoPqyddAfXomMoJiR97tY8abOJsRueh5LX5fYd4qoRSXZ1PgKQfdYX4Wma43agu0B1JiYHbTc9MyvIVjwLFx6kL_67tgGRAwtEOfe6BZV6vyY/w431-h323/tutti2.jpg" width="431" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>(<b>Texto de Wagner_fanatic</b>)</p><p><br /></p><p><span style="color: #2b00fe; font-size: x-large;">Simon Boccanegra, Festival Verdi, Teatro Regio di Parma, September 2022</span></p><p>I watched the opera <b>Simon Boccanegra</b> produced by <b>Valentina Carrasco</b>, under the musical direction of <b>Riccardo Frizza</b>.</p><p>Not being one of those operatic nights, it was special and interesting. In part and delusionally, I felt as if I were attending the premiere of a new <b>Verdi</b> opera. What was put on stage at this Festival was the original version from 1857 and not the one that Verdi revised in 1881 and which is the one we know today and which is on stage everywhere. The 2nd and 3rd acts were little changed in 1881 and, apart from some variations in the melodic lines it seems to me that the text is almost the same. In the prologue and in the 1st act, things are more contrasting. The “opening” is different but with some “known” motifs that later appear during the opera, Fiesco’s aria is very similar, Amélia’s only at the beginning, the duet between Simon and Amelia would say 1/4 the same, the scene of the Council does not exist and here it is changed to a people's party. The feeling it gives to those who hear this for the first time as it happened to me is that this 1857 version is dramatically and melodically weaker than the 1881 one and this idea is not just because I already have the 1881 version ingrained, but because really the melodic options are sometimes not so happy, harmonious and unifying of the action.</p><p>The staging, in my opinion, was very well done. The director transposed the action to the 20th century (perhaps the 50s) to the Port of Genoa, with the people being the workers of that same port, mainly in the meat business. Paolo (<b>Devid Cecconi</b>) is characterized as a mobster-like, pseudo-warehouse boss (and here the singer has the excellent physique for the purpose) helped by a thinner Pietro (<b>Adriano Gragnini</b>) with a similar appearance.</p><p>At the end of the prologue, there are projected photos of a kind of revolutionary movement of workers, with those hand-held posters, on wooden sticks, when Simon and the Doge are exulted in the work. Here at this time, the feeling it gives is that the context of the staging is more restricted, more familiar, and that it would be more for a kind of union leader than for a figure of broader political importance. Amelia is a florist, Gabriele Adorno perhaps one of the workers (clothing not very indicative). The Council scene does not exist and is, in the 1857 version, a popular festival. Here, a staging of a village was made with triangular flags, stalls, roasters and everything. I found it coherent. The 2nd and 3rd acts take place not in the Doge's palace of the 1881 version, but inside a slaughterhouse in the Port of Genoa. Sad to see people in the audience with “boos” right before the music starts because there are halves of cows hanging on hangers and workers in these preparations. On the bench, before the music started, Paolo would give orders to one of the workers who would place a covered human body on top of the bench that later leaves the scene - I think here an allusion to Paolo's mafia character. All the 2nd and 3rd acts deal with death (poisoning and death of Simon) or death wish (attempted murder of Simon by Gabriele Adorno) and therefore, in the general environment chosen by the director, doing this action in a slaughterhouse seems to me extremely coherent. The final scene between Fiesco and Simon, with both passing between the carcasses of the cows, is brilliant because Simon thinks Fiesco is dead and even says “Fia ver? Risorgon dalle tombe i morti?” and Fiesco says, following the idea, “Simone, i morti ti salutano”. There they are, in the slaughterhouse, in the midst of death. Therefore, I can only say that the easy “boo” of these people who come here to walk around dressed and quirky, without understanding anything about the opera or staging, is so sad that it even hurts the soul, so much is the stupidity and illiteracy...</p><p>In the end, with everything that precedes Simon's death, the hooks with the carcasses go up from the stage until they disappear and a photo of a twilight sky appears at the back of the stage, with spotlights placed in half light, symbolizing the two possibilities of twilight - a dawning of a new day, a new life, for Amelia and Gabriele Adorno because they have just got married (they are both dressed in white, very simple clothes) at the same time that wheat grows on the ground, a sign also of life, of strength; and an end of day, end of life, for Simon who is now dying. Simon's body is covered with ears of wheat, placed by men and women dressed in white, possibly symbolizing Simon's ascension to heaven as the day of the ear is for Christians in the ascension of Jesus; and one of those women with a live lamb on her lap, I think also here with an allusion to her Catholic symbolism transposed to this final scene.</p><p>From the point of view of the main singers, they were all of top quality. <b>Piero Pretti</b>, who I heard live for the first time, was phenomenal, very expressive, very emotional, his voice very beautiful and perfect for the role.His interaction / chemistry with <b>Roberta Mantegna</b> was very natural and she also sang with great confidence and drama. <b>Riccardo Zanellato </b>was a colossal Fiesco on every level. <b>Vladimir Stoyanov</b>, although vocally quite good, sometimes lacked some stage credibility. However, he completely rocked it in the end, from a dramatic point of view.</p><p>It was a pity that the audience's applause had been so restrained. I saw some disappointment on the faces of Stoyanov and Pretti. The best version of Simon Boccanegra was not heard, it is true (the 1881 version beats the original in everything) but it was a great production, with singers, conductor, orchestra and director that deserved much more recognition from the public at the end.</p><p>(<b>Text by Wagner_fanatic</b>)</p>Fanático_Umhttp://www.blogger.com/profile/11257819749307927461noreply@blogger.com0