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Robert Carsen's 28-year-old Dream conquers a new fan base in Philadelphia

Von Susan Gould, 13 Februar 2019
Laden, bitte warten...
Veranstaltung anzeigen
“I was hooked!”
Rezensierte Veranstaltung: Academy of Music, Philadelphia, am 8 Februar 2019
Programm
Britten, Ein Sommernachtstraum
Darsteller
Opera Philadelphia
Corrado Rovaris, Musikalische Leitung
Robert Carsen, Regie
Michael Levine, Bühnenbild, Kostüme
Tim Mead, Oberon
Anna Christy, Tytania
Miltos Yerolemou, Puck
Georgia Jarman, Helena
Siena Licht Miller, Hermia
Brenton Ryan, Lysander
Johnathan McCullough, Demetrius
Evan Hughes, Theseus
Allyson McHardy, Hippolyta
Matthew Rose, Bottom
Miles Mykkanen, Flute
Patrick Guetti, Snug
George Somerville, Snout
Zachary Altman, Starveling
Brent Michael Smith, Quince
Opera Philadelphia Orchestra
Emmanuelle Bastet, Wiederaufnahmeleitung
Sir Matthew Bourne, Choreographie
Shelby Williams, Revival choreography
Weitere Oper Kritiken
A sorta fairy tale: Sleepers Awake premieres at Opera Philadelphia
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A new opera by Gregory Spears subverts the Sleeping Beauty trope, with middling results.
**111
Opera by committee: Opera Philadelphia premieres Complications in Sue
Cameron Kelsall, 4th February
Opera Philadelphia commissions ten composers to tell the story of an ordinary woman's idiosyncratic march from cradle to tomb.
****1
A didactic Decameron: The Seasons at Opera Philadelphia
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Conceived by Anthony Roth Costanzo and Sarah Ruhl, this high-handed pasticcio sets the climate crisis to a soundtrack of Vivaldi.
***11
A long, strange trip: Opera Philadelphia’s Il viaggio a Reims
Cameron Kelsall, 19th September
The intrepid company brings Damiano Michieletto’s well-traveled production of a Rossini rarity to the US for the first time. 
***11
The Listeners: daring psychological thriller at Opera Philadelphia
Cameron Kelsall, 25th September
The new opera by Missy Mazzoli and Royce Vavrek draws on cult mindsets and conspiracy theories but smartly avoids sensationalism. 
****1
Opera Philadelphia's Unholy Wars creates a dialogue with Monteverdi
Cameron Kelsall, 23rd September
Arab-American tenor Karim Sulayman devises a thoughtful pastiche that centers the perspective omitted from Early Modern depictions of the Middle East in music.
****1
Weitere Kritiken...
Kritiken von
Allyson McHardyAnna ChristyBenjamin BrittenBrent Michael SmithBrenton RyanCorrado RovarisEin SommernachtstraumEmmanuelle BastetEvan HughesGeorge SomervilleGeorgia JarmanJohnathan McCulloughMatthew RoseMichael LevineMiles MykkanenMiltos YerolemouOpera PhiladelphiaOpera Philadelphia OrchestraPatrick GuettiRobert CarsenSiena Licht MillerSir Matthew BourneTim MeadZachary Altman
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Susan Gould
Susan Gould
Philadelphia native Susan Gould has been writing professionally about classical music since her Barnard College years in New York. She has written for both American and European publications, primarily during fifteen years in Europe, and has done liner notes for recordings and program notes for opera companies and orchestras. Among those she has interviewed have been Sills, Tebaldi, Popp and Fleming; Bumbry, Ludwig, Fassbaender, and von Stade; del Monaco, Kraus and Pavarotti; Prey, Morris and Ramey; Muti, Abbado, Giulini, Sawallisch, and Eschenbach. Fluent in Italian, German and French, she has coached both student and professional singers in foreign-language diction since 1980.