Prometteur Enlèvement au sérail au Festival de Marvão

L'Enlèvement au sérail au Festival de Marvão

By Erwan Gentric, 24 July 2024

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“La joie manifeste des musiciens à aborder ce répertoire irradie”

Reviewed at Castelo de Marvão: Pátio, Marvão on 19 July 2024

Mozart, Die Entführung aus dem Serail (The Abduction from the Harem)

Christoph Poppen, Conductor

Sabine Theunissen, Director, Set Designer, Costume Designer

Kölner Kammerorchester

Martin Mitterrutzner, Belmonte

Leonor Amaral, Konstanze

Yannick Spanier, Osmin

Heekyung Park, Blonde

Patrick Grahl, Pedrillo

João Grosso, Bassa Selim

COC triumphs with Kentridge’s brilliantly conceived Wozzeck

John Gilks, 25th April

William Kentridge's production of Berg’s Wozzeck has it all: wonderfully imaginative and disturbing designs, terrific acting and singing plus fabulous orchestral playing.

*****

Bleak and hopeless: William Kentridge's Wozzeck at the Met

Robert Levine, 2nd January

Despite theatrical drawbacks, this Wozzeck is heartily recommended due to Yannick Nézet-Séguin's staggering understanding of all facets of Berg's score.

****1

Barbed wire fences and gas masks: Wozzeck in Sydney

Zoltán Szabó, 30th January

Kentridge’s use of video technology creates another, highly complex, visual score next to Berg’s sonic one.

****1

Skilfully constructed: Wozzeck at the Salzburg Festival

James Imam, 8th August

A skilfully constructed production, and one that plays with the our perspectives. Whether the images are flashbacks from a war-troubled Wozzeck or a Büchner-esque portent of the horrors to come is left for the audience to decide.

****1

Risk of sensory overload: ENO's Lulu

David Karlin, 9th November

William Kentridge's Lulu for ENO is easier to admire than it is to love. But if you want to be challenged dramatically, this is the opera to do it.

***11

Marlis Petersen's Lulu at the Met

Rebecca Lentjes, 9th November

In addition to incorporating twelve-tone rows for each character and within larger musical units like canons and chorales, the entirety of the opera itself is palindromic in structure, with performers whose characters died gruesome deaths during the first act returning as new characters in the third.

****1

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Erwan Gentric

Initié dès son plus jeune âge à la musique classique, par l’étude du piano d’abord, puis par les affinités électives entretenues avec quelques disques des rayonnages familiaux, Erwan mène désormais de front l’exercice de la critique musicale pour Bachtrack et Diapason, ainsi qu’un doctorat de musicologie à l’École Pratique des Hautes Études. Soutenues par une bourse de la Fondation Royaumont, ses recherches portent sur l’Association artistique des Concerts Colonne de 1873 à 1910.

Prometteur Enlèvement au sérail dans les murs du Festival de Marvão