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

Adriana González (Countess), Sabine Devieilhe (Susanna) and Lea Desandre (Cherubino)

Sabine Devieilhe (Susanna) and Krzysztof Bączyk (Figaro)

Andrè Schuen (Count Almaviva) and Sabine Devieilhe (Susanna)

Sabine Devieilhe (Susanna) and Andrè Schuen (Count Almaviva)

The cast of Figaro during the overture

Por Mark Pullinger, 06 agosto 2023

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“Are Kušej’s characters real or just playing at gangsters?”

Crítica hecha desde Haus für Mozart, Salzburgo el 5 agosto 2023

Mozart, Las bodas de Fígaro (Le nozze di Figaro) (new production)

Raphaël Pichon, Dirección

Martin Kušej, Dirección de escena

Raimund Orfeo Voigt, Diseño de escena

Alan Hranitelj, Diseño de vestuario

Friedrich Rom, Diseño de iluminación

Wiener Philharmoniker

Concert Association Vienna State Opera Chorus

Olaf Schmitt, Dramaturgia

Andrè Schuen, Count Almaviva

Adriana González, Countess Almaviva

Krzysztof Bączyk, Figaro

Sabine Devieilhe, Susanna

Lea Desandre, Cherubino

Peter Kálmán, Doctor Bartolo

Kristina Hammarström, Marcellina

Manuel Günther, Don Basilio

Andrew Morstein, Don Curzio

Rafał Pawnuk, Antonio

Serafina Starke, Barbarina

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.

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

Kušej's new Entführung disappointingly toothless

Mark Valencia, 3rd July

An updating of Mozart's Die Entführung aus dem Serail to the post-World War One era in a desert fails to inspire in Aix.

**111

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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.