Spanish flavours at the Cervantino

Por James Imam, 19 octubre 2016

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Crítica hecha desde Teatro Juárez, Guanajuato el 16 octubre 2016

Vacchi, Vencidos

Strauss R., Don Quijote, Op.35

Rodrigo, Concierto de Aranjuez

Falla, El sombrero de tres picos: Suite núm. 2

Orquesta Filarmónica de Jalisco

Marco Parisotto, Dirección

Carlos Almaguer, Barítono

William Molina Cestari, Violonchelo

Cecilio Perera, Guitarra

José Luis Castillo dirige Rolón, Mozart y Mahler con la OFJ

Vishnu Bachani, 17th June

La Orquesta Filamónica de Jalisco, en su visita al Palacio de Bellas Artes, ofreció una apasionada interpretación de la última sinfonía completa de Mahler.

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Angela Meade debuts at Koerner Hall with the Ontario Philharmonic in Strauss' Four Last Songs

Patrick P.L. Lam, 29th January

Richard Strauss’ Four Last Songs hold an important place in the musical canon for voice and orchestra. The 81-year-old composer wrote them in 1948 from his post-war home in Switzerland, setting poetry by Hermann Hesse and Joseph von Eichendorff.

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An evening of Brahms with the Ontario Phil and Anton Kuerti

Patrick P.L. Lam, 4th December

The Ontario Philharmonic Orchestra is a regional orchestra that has 56 years of history in the province of Ontario. Led by music director Marco Parisotto, the Ontario Phil enjoys local community support to performances given chiefly at the Regent Theater in Oshawa, Ontario.

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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

Giuliano Carella : le sauveur de Cavalleria et Pagliacci à Toulon

Sébastien Herbecq, 9th October

Entre overdose visuelle et auditive, le Maestro Carella a eu fort à faire pour sauver le célèbre duo Cav/Pag à l'Opéra de Toulon. Il y est parvenu !

**111

In the world of Pagliacci, everybody is a clown

Lorenzo Fiorito, 27th May

In this anti-realistic, colourful and beautifully played production of Pagliacci, the director extends the concept expressed in the Prologue: clowns are real life people, but also real life people are clowns in a larger play.

*****

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James Imam

James Imam is an arts journalist writing for publications including The Financial Times, The Times, Musical America and Opera magazine. He grew up in Manchester, read anthropology at Cambridge and has since lived in Milan. As a once-aspiring countertenor he has an abiding interest in Baroque music.

Spanish flavours as Vacchi's Vencidos premieres at the Cervantino