A tawdry travesty of a Traviata in Warsaw

Von Jonathan Sutherland, 10 April 2017

Laden, bitte warten...

Veranstaltung anzeigen

Rezensierte Veranstaltung: Teatr Wielki, Warsaw, am 7 April 2017

Verdi, La traviata

Polish National Opera

Andriy Yurkevych, Musikalische Leitung

Mariusz Treliński, Regie

Boris Kudlička, Bühnenbild

Gosia Baczyńska, Kostüme

Alketa Cela, Violetta Valéry

Leonardo Capalbo, Alfredo Germont

Carlos Almaguer, Giorgio Germont

Heroes and Beasts: Die Frau ohne Schatten in Warsaw

Hugo Shirley, 15th February

The Polish National Opera's first staging of Strauss' massive fairy tale feels like a bold statement of intent.

***11

No mercy for Ivo Van Hove’s Clemenza

Jonathan Sutherland, 16th January

Strong musical performances, but Ivo Van Hove’s Powerpoint presentation of Clemenza at the Teatr Wielki is out of focus.

****1

Seereise von Tristan und Isolde in Baden-Baden

Ako Imamura, 28th March

Sir Simon Rattle und die Berliner Philharmoniker glänzten in einer zum Nachdenken anregenden Produktion von Tristan und Isolde mit einem starken Gesangsensemble.

****1

Heroes and Beasts: Die Frau ohne Schatten in Warsaw

Hugo Shirley, 15th February

The Polish National Opera's first staging of Strauss' massive fairy tale feels like a bold statement of intent.

***11

Destiny has rarely been gloomier: Treliński's new Forza at the Met

Robert Levine, 26th February

The first new Forza at the Met for nearly 30 years is lustily sung, led by Norwegian soprano, Lise Davidsen, and Igor Golovatenko as her vengeful brother.

****1

Le côté obscur de La Femme sans ombre à l’Opéra de Lyon

Tristan Labouret, 17th October

Pour la première fois représenté dans la capitale des Gaules, l'opéra virtuose de Richard Strauss bénéficie d'une extraordinaire interprétation musicale qui vient compenser les limites de la mise en scène.

****1

Weitere Kritiken...

Jonathan Sutherland

Jonathan Sutherland is a graduate of the Sydney Conservatorium of Music and the Hochschule Mozarteum in Salzburg. He is also an internationally renowned concert pianist specializing in the music of the 1930s. Jonathan’s first operatic experience was hearing Maria Callas sing Tosca in Covent Garden and he has since heard performances in all continents of the world including over 60 different productions at the Wiener Staatsoper. He has written for The Australian, Opera Today and The Opera Critic as well as Bachtrack. Jonathan speaks English, French, German and Italian fluently and is based in the south of France near Nice.

Mariusz Treliński turns La traviata into a tawdry travesty in Warsaw