No mercy for Ivo Van Hove’s Clemenza

Por Jonathan Sutherland, 18 enero 2016

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Crítica hecha desde Teatr Wielki, Warsaw el 16 enero 2016

Mozart, La clemenza di Tito

Polish National Opera

Benjamin Bayl, Dirección

Ivo van Hove, Dirección de escena

Jan Versweyveld, Diseño de escena

An D'Huys, Diseño de vestuario

Katarzyna Trylnik, Servilia

Ewa Vesin, Vitellia

Anna Bernacka, Annio

Anna Bonitatibus, Sesto

Charles Workman, Tito

Krzysztof Bączyk, Publio

Janine Brogt, Dramaturgia

Reinder Pols, Dramaturgia

Orchestra of the Teatr Wielki

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

A tawdry travesty of a Traviata in Warsaw

Jonathan Sutherland, 7th April

Mariusz Treliński's Traviata had nothing to do with Dumas, Piave or Verdi. It's as if he confused La Dame aux camélias with Lulu.

**111

Ivo van Hove’s Don Giovanni makes a welcome reappearance at the Met

Robert Levine, 24th September

Opera lovers’ favorite roué is back at the Met, with the charismatic Ryan Speedo Green taking on the title role.

****1

Bergman à l'opéra : Fanny and Alexander à La Monnaie

Patrice Lieberman, 8th December

L'adaptation opératique du film d'Ingmar Bergman ne se distingue certes pas par l'originalité de sa musique mais n'en demeure pas moins une réussite, dotée d'une grande profondeur psychologique.

****1

A vision of Death Row: Heggie’s Dead Man Walking opens the Met season

Robert Levine, 26th September

The Metropolitan Opera makes good on its promise to present more contemporary work, opening the season with Jake Heggie's gut wrenching tale of rage and redemption.

*****

Mahagonny ist eine Fata Morgana: Kurt Weills Oper endlich in Amsterdam

Michael Klier, 6th September

Ivo van Hoves nicht jugendfreie Inszenierung treibt Brechts moralischen Zeigefinger humoristisch (und erfolgreich) auf die Spitze.

****1

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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.

No mercy for Ivo Van Hove’s La clemenza di Tito in Warsaw