On Saturday night, nine androgynous, saucy, rambunctious dancing witches with thick, three-foot tails and exuberant tassels, whose heritage included the Wizard of Oz and the Lion King, stole the show.
Matthew Richard Martinez reviews Los Angeles Opera's season-opening performance of Verdi's La traviata starring Plácido Domingo, Nino Machaidze, and Arturo Chacón-Cruz.
Sometimes catching a performance with its second cast can be as revealing as attending a first night, and that was the case with this production of Rigoletto by the Canadian director Robert Carsen at La Monnaie in Brussels.
If you are going to see Verdi’s I due Foscari, this production is likely the way to do it. Although this production is by no means unflawed, there are several reasons that it is a must-see for opera fans in Vienna.
The venerable Viennese tradition of airing dirty operatic laundry in public found an unlikely proponent this season in the form of the Theater an der Wien’s mild-mannered director Roland Geyer, who, unhappy with William Friedkin’s production of The Tales of Hoffmann in March, abruptly sacked the American director and announced he would devise a new staging himself a matter of months before the
Rebeka, Domingo y Tebar fueron los responsables de dotar de numerosos momentos de verdadero arte a una producción que parecía sentenciada a lo superficial.
Rolando Villazón bricht nach einer schwachen Leistung seine Vorstellung ab und übergibt an Arturo Chacón-Cruz. Dass die Aufführung an der Münchener Staatsoper dennoch gelingt, liegt vor allem an der einfallsreichen Inszenierung.
Schlank ist schön: Gekürzt und auf Violettas Kampf um Leben und Liebesglück fokussiert, begeistert Peter Konwitschnys Grazer Traviata-Inszenierung die Wiener. Marlis Petersen in der Titelpartie ist ein Ereignis.
