Juan Diego Flórez and Venera Gimadieva charm as the young unlucky couple, and convince with their vocal performances in Wysocka’s production at the Bayerische Staatsoper.
After his affectionate treatment of La fanciulla del West for ENO and his devastating Suor Angelica for the Royal Opera, Richard Jones’ new La bohème is disappointingly bland.
The evening was dominated by Anna Netrebko, who reprised the role of Tatiana with fresh insights and vocal charisma. Robin Ticciati led the Met Orchestra to probe a new depth of the score.
The finale was the dramatic and musical high of the night, when both Ana María Martínez and Mariusz Kwiecień let themselves cut loose, laying waste to the bare stage.
Les Pêcheurs de Perles is a graceful if senseless piece, composed when Georges Bizet was only 25 years old and miles away from the psycho-musical drama of Carmen.
Kasper Holten’s production does an impressive job of exploring the concepts of Szymanowski's Król Roger – perhaps more psychologically than philosophically. It’s a production well worth exploring.
This production's consistent visual beauty forms the setting for this Don’s musical approach. It is a testament to this ensemble that Mariusz Kwiecień can’t steal the show in spite of his utterly commanding physical and vocal presence as the Don.
There is much to enjoy in the Met’s revival of its almost 40 year old production of Bellini’s I Puritani although almost none of it is visual, with Olga Peretyatko and Lawrence Brownlee both fitting the bill.
Die Bayerische Staatsoper sorgt mit Donizettis La Favorite für muskalische Höhepunkt, setzt dabei jedoch auf eine äußerst karge Inszenierung, die nicht restlos überzeugen kann.
