Benvenuto Cellini à La Côte-Saint-André : du jeu et des décibels

By François Jestin, 30 August 2019

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“Michael Spyres est le meilleur ténor berliozien du moment”

Reviewed at Château Louis XI, Cour, La Côte-Saint-André on 29 August 2019

Berlioz, Benvenuto Cellini (concert performance)

Sir John Eliot Gardiner, Conductor

Noa Naamat, Director

Sarah Denise Cordery, Costume Designer

Michael Spyres, Benvenuto Cellini

Sophia Burgos, Teresa

Maurizio Muraro, Giacomo Balducci

Lionel Lhote, Fieramosca

Tareq Nazmi, Pope Clement VII

Adèle Charvet, Ascanio

Vincent Delhoume, Francesco

Ashley Riches, Bernardino

Peter Davoren, An innkeeper

Alexander Ashworth, Pompeo

Orchestre Révolutionnaire et Romantique

Monteverdi Choir

Blinded by passion: Cav & Pag returns to the Royal Opera House

Dominic Lowe, 30th November

Questionable conducting aside, The Royal Opera's latest revival of Damiano Michieletto’s fluid production of the famous operatic double-bill is terrifically executed by two excellent casts.

****1

La commedia è finita: a scorching Cav & Pag at Covent Garden

Mark Pullinger, 5th July

With more cast reshuffles than in Downing Street of late, this revival of Damiano Michieletto's intertwined Cavalleria rusticana and Pagliacci double bill triumphs against the odds.

*****

Prom 59: Berlioz with a bronze glow

Mark Pullinger, 2nd September

To mark the 150th anniversary of the composer's death, Sir John Eliot Gardiner conducts the opera charting the escapades of the Italian goldsmith and sculptor.

****1

JPYA unite for a golden afternoon at Covent Garden

Mark Valencia, 21st July

The young singers spin any raw material into opera gold, sending the audience home as uplifted as if they’d just glugged a bellyful of Pimm’s.

****1

A sensitive and stylish new production of Phaedra

Mark Valencia, 15th May

A post-mortem fantasy that’s as compelling as it is confusing.

****1

The ghost of Maria Callas: Greek National Opera's Medea at Epidaurus

Anna Bogdanova, 20th June

To rebuild Maria Callas's 1961 Medea is to invite the cruellest comparisons in opera. For most of a single night at Epidaurus, Greek National Opera withstands it, but then comes the final act...

****1

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François Jestin

Ingénieur de formation, François est tombé par hasard dans la critique musicale, d'abord à la demande du magazine professionnel L'Ingénieur-Constructeur dont il tient la rubrique Musique et spectacles depuis bientôt 20 ans. Spectateur très assidu des maisons d'opéra, il écrit régulièrement pour plusieurs supports, dont la revue mensuelle suisse Scènes Magazine.