De lo trivial a lo emocional con Semenchuk y Skigin

By David Santana Cañas, 07 October 2021

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Reviewed at Teatro de la Zarzuela, Madrid on 4 October 2021

Glinka, Farewell to St Petersburg, song cycle

Mussorgsky, Songs and Dances of Death

Ekaterina Semenchuk, Mezzo-soprano

Semyon Skigin, Piano

Livermore’s new Aida: an incredible cinematic experience in Rome

Alissa Balocco, 31st January

In staging Verdi's triumphant masterpiece, the Teatro dell’Opera di Roma pays homage to silent films, turning Ancient Egypt into the underworld.

****1

Florence's finest: Teatro del Maggio's compelling new Don Carlo

Roy Westbrook, 27th December

Five highly dissatisfied lead characters find only disastrous or ambiguous outcomes. Yet there are few greater operas than this.

*****

Petrenko and Berlin Philharmonic get to the heart of Weill

Chris Garlick, 13th February

Kirill Petrenko launches the Berlin Philharmonic's “Golden Twenties” series with Kurt Weill's First Symphony and Stravinsky's Oedipus Rex.

****1

Don Carlo doesn't find his place in Madrid

Fernando Remiro, 21st September

Sir David McVicar's unassuming production fails to engage with the political side of Verdi's masterpiece, despite good conducting by Nicola Luisotti and some good singing by a solid cast.

***11

Gergiev conducts a grandiose Khovanshchina at La Scala

Renato Verga, 27th February

In Khovanshchina, even more so than in Boris Godunov, the chorus is the chief protagonist and the La Scala chorus was truly astonishing.

****1

Carthage carnage: Tcherniakov's Trojans flops at the Bastille

Mark Pullinger, 25th January

Tcherniakov reduces Berlioz' epic to little more than Circle Time therapy, a poor way to mark the composer's anniversary year.

**111

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David Santana Cañas

David Santana (Bilbao, 1996) comienza sus estudios de música en la especialidad de fagot en el Conservatorio Juan Crisóstomo de Arriaga de Bilbao. En 2014 se traslada a Madrid, donde cursa el grado en Musicología en la Universidad Complutense de Madrid y continúa y finaliza sus estudios musicales de fagot en el Conservatorio Adolfo Salazar de Madrid. Actualmente se encuentra ampliando su formación con la realización del Máster de Investigación de Música Española e Hispanoamericana en la UCM.

De lo trivial a lo emocional, un viaje de ida y vuelta: Ekaterina Semenchuk y Semjon Skigin