Patience is a virtue in the Teatro Regio's marvellous Tristan und Isolde

Por James Imam, 16 octubre 2017

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“less laboriously carved out of onyx as delicately outlined in charcoal pastels”

Crítica hecha desde Teatro Regio di Torino, Turín el 14 octubre 2017

Wagner, Tristan und Isolde

Teatro Regio di Torino

Gianandrea Noseda, Dirección

Claus Guth, Dirección de escena

Christian Schmidt, Diseño de escena, Diseño de vestuario

Stefan Vinke, Tristan

Rachel Nicholls, Isolde

Steven Humes, King Marke

Martin Gantner, Kurwenal

Michelle Breedt, Brangäne

Klaus Kuttler, Melot

Joshua Sanders, Shepherd

Patrik Reiter, Young seaman

Coro del Teatro Regio di Torino

Orchestra del Teatro Regio di Torino

Riccardo Muti triumphs with Un ballo in maschera in Turin

Laura Servidei, 23rd February

The Teatro Regio di Torino presents Andrea de Rosa's new production of Verdi’s operal, with a solid cast under the baton of Riccardo Muti.

***11

Nicht perfekt, aber unterhaltsam: L'elisir d’amore in Turin

Isabella Steppan, 22nd April

Die gestreamte Vorstellung von Donizettis Oper aus dem Teatro Regio hätte noch deutlich Luft nach oben gehabt, war aber dennoch charmant.

**111

The Pearl Fishers: Turin opens its operatic season

Renato Verga, 3rd October

The staging sways between tackiness and naivety, like those old Christmas cards with sequins glued to the edges of the figures.

**111

The first modern staged performance of Paër’s Agnese in Turin

Laura Servidei, 17th March

The Teatro Regio presents a Classical rarity with echoes of Mozart and anticipations of Rossini. Diego Fasolis conducts with imagination and spunk.

***11

In Turin's Trovatore, the women carry the day

Renato Verga, 10th October

Female voices dominate in the vocal cast: Rachel Willis-Sørensen debuts as Leonora and charms the audience; Anna Maria Chiuri has the temperament and rich vocality requested by the role of the gypsy.

***11

A strong Italian cast for Così fan tutte in Turin

Laura Servidei, 1st July

Diego Fasolis gives an enlightened, 18th-century account of the Mozart/da Ponte masterpiece, with great precision and elegance.

****1

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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.