Inevitable solitude in the Ricci/Forte's new diptych

Von James Imam, 22 November 2018

Laden, bitte warten...

Veranstaltung anzeigen

“an identifiably high-octane, imaginative style”

Rezensierte Veranstaltung: Teatro Massimo, Palermo, am 18 November 2018

Schönberg, Die glückliche Hand

Bartók, Herzog Blaubarts Burg

Teatro Massimo

Gergely Vajda, Musikalische Leitung

Stefano Ricci, Regie

Nicolas Bovey, Bühnenbild

Gianluca Sbicca, Kostüme

Gábor Bretz, A man (Schoenberg), Blaubart

Atala Schöck, Judith

Coro del Teatro Massimo

Orchestra del Teatro Massimo

A roof-raising Ernani in Palermo

Mark Pullinger, 26th February

Omer Meir Wellber conducts a spirited account of Verdi's early opera, semi-staged and live-streamed from the Teatro Massimo.

****1

A punk, post-industrial Siegfried in Palermo

Edoardo Pelligra, 20th December

Despite this mis-en-scene’s lack of intensity, this Siegfried closed the 2015 season of the Teatro Massimo with an outstanding musical performance.

***11

Shamelessly, age-defyingly garish: La Fille du régiment

David Karlin, 17th September

Franco Zeffirelli's Palermo La Fille du régiment wears its 55 years with style and elegance, lifted by outstanding singing from Desirée Rancatore and Celso Albelo.

****1

Mascagni's Le maschere struggles to take flight in Wexford opener

Andrew Larkin, 18th October

Excellent singing, an amusing production and lively staging showcases Mascagni's Le maschere in the best possible light at Wexford Festival Opera.

***11

The political drama of Marino Faliero in Bergamo

Renato Verga, 20th November

14th-century Venice, a city of intrigue, criminal activity and mysterious masks, is the setting for Donizetti's opera about the Doge Marino Faliero, whose life is torn between public and private issues.

****1

La clemenza di Tito in Zürich: kein Platz für Gutmenschen

Thomas Schacher, 26th April

Das Opernhaus Zürich zeigt Mozarts letzte Oper in einer sensationellen musikalischen Umsetzung von Marc Minkowski und in einer problematischen Regie von Damiano Michieletto.

***11

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James Imam

James Imam is an arts journalist writing for publications including The Financial Times, The Times, Musical America and Opera magazine. He grew up in Manchester, read anthropology at Cambridge and has since lived in Milan. As a once-aspiring countertenor he has an abiding interest in Baroque music.

Inevitable solitude in the Ricci/Forte's new diptych at the Teatro Massimo