Damiano Michieletto's La bohème 2.0 in Budapest

Par Olga de Kort, 03 mars 2016

Chargement en cours, veuillez patienter...

Voir le listing complet

“Attention, please, 2.0: a new format, a new look, a new version”

Critique faite à Erkel Színház (Erkel Theatre), Budapest, le 26 février 2016

Puccini, La bohème

Opéra d'État hongrois

János Kovács, Direction

Damiano Michieletto, Mise en scène

Paolo Fantin, Décors

Carla Teti, Costumes

Orsolya Sáfár, Mimì

Ildikó Szakács, Musetta

Gergely Boncsér, Rodolfo

Zsolt Haja, Marcello

Zoltan Nagy, Schaunard

András Kiss, Colline

Lajos Geiger, Alcindoro

Gábor Gárday, Benoît

László Beöthy-Kiss, Parpignol

Budapest Philharmonic Orchestra

Chœurs de l'Opéra d'État hongrois

Budapest accueille ses Enfants terribles

Suzanne Lay-Canessa, 13th November

Jean Cocteau rencontre Philip Glass à l'Opéra d'État hongrois, dans le cadre neuf de l'Eiffel Art Studios, et cette production des Enfants terribles se déroule à un tempo infernal !

****1

All that glitters is not gold in Budapest's new Lohengrin

Orsolya Gyárfás, 16th November

Klára Kolonits's radiant Elsa proves the main attraction in the Hungarian State Opera's visually appealing but conceptually lacking new Lohengrin.

**111

A thrilling, opulent La Bayadère at Hungarian National Ballet

Gianmarco Segato, 14th June

Hungarian National Ballet's La Bayadère revitalizes tradition with a new reconstruction of its forgotten final act.

*****

Visually splendid, dramatically parched La Gioconda in Budapest

Gianmarco Segato, 11th June

Hungarian State Opera's cut-down, dramatically inert Gioconda fails to ignite the stage in Budapest, despite a solid musical foundation.

***11

Stumbling towards the chopping block: Maria Stuarda in Budapest

Orsolya Gyárfás, 14th May

Martin Rajna's energetic conducting and Gabriella Balga's glorious Elisabetta are the bright spots in this flashy but empty house premiere of Donizetti's classic.

**111

Hungarian National Ballet: a tremendously witty Merry Widow

Deborah Weiss, 12th February

Hungarian National Ballet strike a delightful balance between lighthearted comedy and technical assurance in Ronald Hynd's The Merry Widow.

****1

Plus de critiques...

Olga de Kort

Musicologist and music critic Olga de Kort (The Netherlands) studied in Russia (piano, culture sciences), France (journalism) and the Netherlands (musicology and music history, music education and communication, organ) where she has lived from 1998. She is active as a music journalist, lecturer in music history and culture and as a freelance musician. She writes for Piano Bulletin, Pianist, Luister, Preludium, De Klank, Het Orgel, Muziek&Liturgie, Kunstzone and Bachtrack. Besides her personal journalist blog, Olga de Kort has a website about Russian music in the Netherlands. At this moment she is working on a book about Russian music and musicians in the Netherlands and on a biography of Russian singer Anna El Tour.

Damiano Michieletto's La bohème 2.0 in Budapest: dramatically convincing