Kušej's new Entführung disappointingly toothless

Por Mark Valencia, 04 julio 2015

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“There's no sand in this French maestro's boots”

Crítica hecha desde Théâtre de l'Archevêché, Aix-en-Provence el 3 julio 2015

Mozart, El rapto en el serrallo (Die Entführung aus dem Serail)

Jérémie Rhorer, Dirección

Martin Kušej, Dirección de escena

Heide Kastler, Diseño de vestuario

Annette Murschetz, Diseño de escena

Jane Archibald, Konstanze

Rachele Gilmore, Blonde

Daniel Behle, Belmonte

David Portillo, Pedrillo

Franz-Josef Selig, Osmin

Tobias Moretti, Bassa Selim

Musica Aeterna

Freiburger Barockorchester

No fairy tale: Kušej’s Rusalka works with devastating force in Munich

Orsolya Gyárfás, 26th July

Asmik Grigorian leads a searing performance in Martin Kušej’s 15-year-old, yet ever-fresh, outstanding production of Dvořák's opera.

****1

Halbszenisch mit feuriger vokaler Leidenschaft: Macbeth in München

Michael Vieth, 5th December

Wegen Warnstreiks innerhalb weniger Stunden auf der Münchner Bühne eingerichtet: Verdis hier halbszenischer Macbeth beeindruckte durch hochklassiges orchestrales und sängerisches Niveau.

High on Cherubino: Kušej’s drugged-up Figaro in Salzburg

Mark Pullinger, 5th August

Martin Kušej gives Mozart and Da Ponte's commedia per musica a sinister mafia setting, which is low on laughs but outstandingly performed, led by Lea Desandre's charismatic Cherubino.

***11

Sombre Carmen à Berlin, avec Gaëlle Arquez et Stanislas de Barbeyrac

Emma Granier, 5th February

La mise en scène de Martin Kušej accentue le caractère sombre du célèbre opéra de Bizet, dans lequel le duo de chanteurs français se distingue.

****1

Tosca am Theater an der Wien in der radikalen Lesart von Martin Kušej

Snapdragon, 18th January

Martin Kušej zeigt eine gewalttätige, kunst- und religionsbefreite Tosca, die zum Nachdenken anregt.

***11

A study in black and terror in Naples

Lorenzo Fiorito, 15th April

Many scenes could risk to be particularly disturbing, but their overt brutality appeared functional, to the structure of the drama. A dark, gloomy story as unambiguously told as it should be.

****1

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Mark Valencia

Mark has worked in arts journalism for four decades, both as a writer and as a French-English translator. Nowadays he focuses his energies on reviewing opera and music. Mark also writes for Opera magazine and for Musical America as a correspondent for Europe and the UK.

Martin Kušej's new Entführung a disappointingly toothless affair