A rib-tickling Le Comte Ory

Par James Imam, 07 juillet 2014

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“Flórez dispatched fiendish cascades in his firm tenore di grazie with ease”

Critique faite à Teatro alla Scala, Milan, le 4 juillet 2014

Rossini, Le Comte Ory

Teatro alla Scala

Donato Renzetti, Direction

Laurent Pelly, Mise en scène

Juan Diego Flórez, Le Comte Ory

Colin Lee, Le Comte Ory

Aleksandra Kurzak, La Comtesse Adèle

Pretty Yende, La Comtesse Adèle

Josè Maria Lo Monaco, Isolier

Chiara Amarù, Isolier

Marina de Liso, Ragonde

Stéphane Degout, Raimbaud

Nicola Alaimo, Raimbaud

Roberto Tagliavini, Le Gouverneur

Le grand retour de La Rondine alla Scala

Arnaud Saura-Ziegelmeyer, 9th April

Trente ans après son dernier passage sur les planches milanaises et cent ans après la disparition de son auteur, l'opéra méconnu de Puccini bénéficie d'une mise en scène efficace et d'une belle distribution.

****1

The Ring returns to the Rhine: Götterdämmerung at La Scala

Laura Servidei, 1st February

Under Alexander Soddy’s powerful conducting and Sir David McVicar’s dark, evocative staging, the Ring finds a searing conclusion, anchored by a powerful Brünnhilde from Camilla Nylund, as the world burns.

*****

Shostakovitch’s Lady Macbeth conquers La Scala on opening night

Laura Servidei, 7th December

Shostakovich's brutal tale of sex, murder and madness storms La Scala's opening night, with Riccardo Chailly leading his final season premiere as Music Director.

****1

The game of love: Robert Carsen’s new Così fan tutte at La Scala

Laura Servidei, 8th November

Alexander Soddy leads a great cast in a clever, supremely entertaining new production in Milan.

****1

Pelly’s iconic Fille du régiment retains its charm at La Scala

Laura Servidei, 17th October

Julie Fuchs and Juan Diego Flórez give life to the refreshing and funny take of Laurent Pelly’s classic production, under the baton of Evelino Pidò.

****1

Martone's modern Rigoletto returns with power and flaws to La Scala

Laura Servidei, 10th October

A Rigoletto revival in Milan is elevated by a stellar vocal performance from Amartuvshin Enkhbat, despite a finale that divides opinion and some uneven orchestral pacing.

***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.

The quotidian and the absurd: La Scala's rib-tickling Le Comte Ory