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Shadows among the organ pipes: an enigmatic Pelléas et Mélisande on location in Glyndebourne

Von Mark Pullinger, 01 Juli 2018
Laden, bitte warten...
Veranstaltung anzeigen
“the Norwegian director isn’t offering any easy answers, although his stagecraft can be breathtaking”
Rezensierte Veranstaltung: Glyndebourne Opera House, Glyndebourne, am 30 Juni 2018
Programm
Debussy, Pelléas et Mélisande
Darsteller
Glyndebourne Festival Opera
Robin Ticciati, Musikalische Leitung
Stefan Herheim, Regie
Philipp Fürhofer, Bühnenbild, Kostüme
Christina Gansch, Mélisande
John Chest, Pelléas
Christopher Purves, Golaud
Richard Wiegold, Arkel
Karen Cargill, Geneviève
Chloé Briot, Yniold
Michael Wallace, Hirte
Michael Mofidian, ein Arzt
The Glyndebourne Chorus
London Philharmonic Orchestra
Weitere Oper Kritiken
Glyndebourne revives Michieletto’s Kátya Kabanová
Mark Valencia, 3rd August
Damiano Michieletto’s production of Janáček’s opera breaks a key tenet of high-concept opera: where it should reveal, it obfuscates. 
***11
All the world’s a jest: Falstaff returns to Glyndebourne
Mark Pullinger, 23rd July
Richard Jones' 2009 production returns to Glyndebourne after a long absence, but the 1940s comedy scrubs up fresh. 
***11
A strong new Figaro opens at Glyndebourne
Dominic Lowe, 29th June
Mariame Clément is a popular director at Glyndebourne, and her new production of Figaro shows her trademark approach to hardhitting comedy.
****1
Glyndebourne's Saul still packs a punch 10 years on
Nick Boston, 8th June
Returning from the original run, Christopher Purves and Iestyn Davies were joined by a strong cast and chorus for a revival of Barrie Kosky's striking production.
*****
Unhurried suspense in a very English Parsifal
Peter Quantrill, 17th May
Compelling singers carry the day in the Glyndebourne Festival Opera's first staging of Wagner’s swansong. 
****1
Glyndebourne’s season opens with Rossini’s Barber of Seville
David Karlin, 16th May
Annabel Arden’s production provides joyous comedy, with vocal and orchestral performances of the very finest.
*****
Weitere Kritiken...
Kritiken von
Brindley SherrattChloé BriotChristina GanschChristopher PurvesClaude DebussyGlyndebourne Festival OperaJohn ChestKaren CargillLondon Philharmonic OrchestraMichael MofidianMichael WallacePelléas et MélisandePhilipp FürhoferRichard WiegoldRobin TicciatiStefan HerheimThe Glyndebourne Chorus
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Mark Pullinger
Mark Pullinger
Mark has been a Bachtrack editor since 2014. He is also an experienced critic, writing hundreds of reviews for the site, as well as a freelancer writing for other magazines and newspapers. He also writes programme notes and blogs on Substack. Mark has a particular passion for the operas of Verdi as well as Russian and French repertoire. Outside the concert hall and opera house, Mark enjoys cooking and travel and is probably at his happiest let loose in a French patisserie or a Viennese coffee house.