Marseille, future capitale du Bel Canto ?

By Sébastien Herbecq, 24 October 2016

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“La révélation de la représentation est d’origine tchèque et se nomme Zuzana Marková.”

Reviewed at Opéra de Marseille, Marseille on 23 October 2016

Donizetti, Anna Bolena (Concert performance)

Roberto Rizzi Brignoli, Conductor

Zuzana Marková, Anna Bolena

Sonia Ganassi, Giovanna

Marion Lebègue, Smeton

Carl Ghazarossian, Hervey

Giuseppe Gipali, Riccardo Percy

Antoine Garcin, Lord Rochfort

Mirco Palazzi, Enrico

Chœur de l'Opéra de Marseille

Orchestre de l'Opéra de Marseille

A witty hotel Don Giovanni opens Blackwater Valley Festival

Andrew Larkin, 27th May

Tom Creed’s witty production at Lismore Castle delivers strong singing, sharp comedy and lively orchestral playing, even if the opera’s darker supernatural edges are somewhat diminished.

****1

Werther revived at San Carlo: an anatomy of emotional isolation

Lorenzo Fiorito, 26th May

Willy Decker’s psychologically intense Werther returns to the Teatro di San Carlo with a deeply human interpretation by Francesco Demuro and refined conducting by Lorenzo Passerini.

*****

A birthday reimagining of Il viaggio a Reims in Salzburg

Laura Servidei, 25th May

In Barrie Kosky’s hyperactive staging, Il viaggio a Reims becomes a birthday tribute to Cecilia Bartoli complete with rewritten text, extravagant costumes, sexual escapades and a giant cake.

***11

A noble Norma trapped in a hollow dystopia

Andrew Larkin, 24th May

Salome Jicia delivers a vocally impressive and emotionally committed Norma, but Orpha Phelan’s post-apocalyptic staging fatally weakens Bellini’s sacred tragedy.

***11

Superb musical performances in Pinchgut’s Scarlatti rarity in Sydney

Sandra Bowdler, 23rd May

As usual, Pinchgut lavishes musical excellence on an obscure Baroque work... but why stage an oratorio?

****1

A deli-cious revival of Rossini’s Il turco in Italia at Glyndebourne

Dominic Lowe, 23rd May

Mariame Clément’s production of Rossini's meta comedy is tightly revived with some excellent singing. Come for the writing tips, stay for the cured meats.

****1

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Sébastien Herbecq

Sébastien a pratiqué pendant 11 ans le violon avant d'intégrer la classe de chant lyrique du Conservatoire de Montpellier. Titulaire d'un master en droit et management de la culture, ce grand amateur de musique classique, admirateur des belles voix, arpente depuis son plus jeune âge les salles d'opéra. Il est particulièrement sensible au répertoire lyrique de ses compositeurs fétiches : Wagner, Richard Strauss, Verdi et Rossini. Dramaturge auprès de l'Opéra de Marseille à partir de 2017, il cesse son activité de critique l'année suivante ; depuis 2019, il est dramaturge à La Monnaie/De Munt.