Inevitable solitude in the Ricci/Forte's new diptych

Par James Imam, 22 novembre 2018

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“an identifiably high-octane, imaginative style”

Critique faite à Teatro Massimo, Palermo, le 18 novembre 2018

Schönberg, Die glückliche Hand

Bartók, Le Château de Barbe-Bleue

Teatro Massimo

Gergely Vajda, Direction

Stefano Ricci, Mise en scène

Nicolas Bovey, Décors

Gianluca Sbicca, Costumes

Gábor Bretz, A man (Schoenberg), Barbe-Bleue

Atala Schöck, Judith

Coro del Teatro Massimo

Orchestra del Teatro Massimo

A roof-raising Ernani in Palermo

Mark Pullinger, 26th February

Omer Meir Wellber conducts a spirited account of Verdi's early opera, semi-staged and live-streamed from the Teatro Massimo.

****1

A punk, post-industrial Siegfried in Palermo

Edoardo Pelligra, 20th December

Despite this mis-en-scene’s lack of intensity, this Siegfried closed the 2015 season of the Teatro Massimo with an outstanding musical performance.

***11

Effrontée, tapageuse intemporelle : La Fille du régiment

David Karlin, 17th September

La Fille du régiment de Franco Zeffirelli à Palerme porte ses cinquante-cinq ans avec style et élégance, rehaussés par les exceptionnelles prestations vocales de Desirée Rancatore et Celso Albelo.

****1

Mascagni's Le maschere struggles to take flight in Wexford opener

Andrew Larkin, 18th October

Excellent singing, an amusing production and lively staging showcases Mascagni's Le maschere in the best possible light at Wexford Festival Opera.

***11

The political drama of Marino Faliero in Bergamo

Renato Verga, 20th November

14th-century Venice, a city of intrigue, criminal activity and mysterious masks, is the setting for Donizetti's opera about the Doge Marino Faliero, whose life is torn between public and private issues.

****1

Siegfried et l’art du chant au Théâtre des Champs-Élysées

Pierre Michel, 19th April

Pour ce troisième volet du Ring proposé en version de concert par Yannick Nézet-Séguin et l'Orchestre philharmonique de Rotterdam, c'est le plateau vocal qui brille avant tout, éclipsant l'orchestre et le chef.

***11

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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.

Inevitable solitude in the Ricci/Forte's new diptych at the Teatro Massimo