Marco Arturo Marelli's 2012 production lacks mystery but puts a fine Golaud centre stage, while Esa-Pekka Salonen ensures superior musical values in the pit.
Movable walls, some adorned with Baroque frescoes, partition the stage in ways that remind the viewer of the easy proximity of the masters and servants' quarters in Almaviva's estate.
Marco Arturo Marelli’s extravagant art deco production is one of the most successful productions available at the Volksoper. It's an appropriate and lighthearted choice to celebrate 25 years of Ildikó Raimondi.
Verdi’s Don Carlo – the four-act Italian version – at the Deutsche Oper combines strong singing and acting with lush music in an evening that, despite its beauty, is not without its faults.
Puccini’s La fanciulla del West, in its new production by Marco Arturo Marelli, features excellent singing from top to bottom, tight orchestral playing, beautiful lighting, and a decisive lack of cowboys, saloons and other “Wild West” clichés.
Vienna is a nostalgic town, and in few places is the past clung onto more tightly than at the State Opera, where a Tosca created for Renata Tebaldi has been pressed creakingly into service for over 55 years now.
An obsessively man-hating princess, a slave girl who really needs to open up a bit more about her feelings, a prince who actually fell in love at first sight, and an unhealthily large dose of exoticism? Why, it can only be Puccini’s Turandot.
When you discover your bride-to-be in another man's bed on the eve of your wedding day, the excuse "Darling, I must have been sleepwalking" rates somewhere near the same level of credibility as "Sir, the dog ate my homework." But hey, this is opera, and bel canto opera at that. You didn't come to Bellini's La Sonnambula for the story and the drama: you came here for the singing.
Entre pesados muros y bajo la presencia de la cruz pudimos observar como algunas leyendas se encontraban, en una representación con algunos elementos muy notables.
Marco Arturo Marelli hat für diese Inszenierung wie immer solide Arbeit geleistet, was Personenführung und psychologische Charakterisierung der Charaktere betrifft, doch muss einschränkend gesagt werden, dass ihm vieles schon viel besser gelungen ist.
La mise en scène de Marco Arturo Marelli et Enrico De Feo se veut fondamentalement ancrée dans le contexte historique de la création de l’œuvre mozartienne.
