Jonathan Kent’s Don Giovanni returns to Glyndebourne

Par Francesca Vella, 09 juin 2014

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Critique faite à Glyndebourne Opera House, Glyndebourne, le 7 juin 2014

Mozart, Don Giovanni

Andrés Orozco-Estrada, Direction

Jonathan Kent, Mise en scène

Paul Brown, Décors

Taras Shtonda, Le Commandeur

Layla Claire, Donna Anna

Ben Johnson, Don Ottavio

Elliot Madore, Don Giovanni

Edwin Crossley-Mercer, Leporello

Serena Farnocchia, Donna Elvira

Lenka Máčiková, Zerlina

Brandon Cedel, Masetto

London Philharmonic Orchestra

The Glyndebourne Chorus

“Taffia Tosca” burns with Welsh fire

Mark Pullinger, 26th November

Led by Bryn Terfel's Scarpia and Natalya Romaniw's Tosca – not forgetting Aled Hall's scene-stealing Spoletta – this revival of Jonathan Kent's 2006 staging is urgently paced.

****1

Tézier's suave Scarpia steals the limelight in ROH Tosca revival

Mark Pullinger, 11th July

Tosca is back for another run, more dimly lit than ever, but illuminated by French baritone Ludovic Tézier as a Scarpia oozing with sinister charm and ironic humour.

***11

Muted passions in Royal Opera Tosca revival

Roy Westbrook, 5th February

A revival low on dramatic power and emotional temperature, despite a fine Royal Opera debut by conductor Karen Kamensek.

***11

Stylish, traditional Tosca revived at the Royal Opera House

Mark Valencia, 28th November

In a face-off between Gabriele Viviani's Scarpia and Malin Byström’s Tosca in this solid revival of Jonathan Kent's 2006 production, there could only be one winner

****1

A couple of Cavaradossis, plus a divine diva: Tosca at the ROH

Roy Westbrook, 8th December

A change of tenor mid-performance adds further drama to a night at the opera in Covent Garden...

****1

“Ecco un artista!”: melodrama aplenty in ROH Tosca revival

Mark Pullinger, 27th May

Red-blooded performances from the three principals at Covent Garden, even if there are vocal misfires along the way.

***11

Plus de critiques...

Francesca Vella

Francesca is a PhD student at KCL, where she is researching Verdi reception in late nineteenth-century Milan. Besides being interested in cultural history and the history of Italian opera, she loves the classical and romantic piano and chamber music repertoire.