La Currentzis di Tito: a Mozartian mishap in Wrocław

By Jonathan Sutherland, 19 September 2017

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Reviewed at Opera Wrocławska, Wrocław on 17 September 2017

Mozart, La clemenza di Tito

Teodor Currentzis, Conductor

Anna Lucia Richter, Servilia

Karina Gauvin, Vitellia

Jeanine De Bique, Annio

Maximilian Schmitt, Tito

Sir Willard White, Publio

Stéphanie d'Oustrac, Sesto

musicAeterna Choir

musicAeterna

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Andrew Larkin, 24th May

Salome Jicia delivers a vocally impressive and emotionally committed Norma, but Orpha Phelan’s post-apocalyptic staging fatally weakens Bellini’s sacred tragedy.

***11

A deli-cious revival of Rossini’s Il turco in Italia at Glyndebourne

Dominic Lowe, 23rd May

Mariame Clément’s production of Rossini's meta comedy is tightly revived with some excellent singing. Come for the writing tips, stay for the cured meats.

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Superb musical performances in Pinchgut's Scarlatti rarity in Sydney

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As usual, Pinchgut lavishes musical excellence on an obscure Baroque work... but why stage an oratorio?

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The Met’s Frida y Diego proves visually stunning, musically thrilling

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Deborah Colker and her design team create visually vibrant worlds for the Met’s new production of El último sueño de Frida y Diego, by Pulitzer Prize winner Gabriela Lena Frank.

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Dudamel’s LA Phil Walküre proves worth the wait

Matthew Richard Martinez, 21st May

An enveloping performance of Die Walküre spans three consecutive evenings, featuring world class singing in Frank Gehry’s stunning space.

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Glyndebourne’s first Tosca: vocally strong but imperfect

David Karlin, 21st May

Ted Huffman brings some interesting ideas to his first Glyndebourne production. Excellent singing is let down by indifferent physical acting.

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Jonathan Sutherland

Jonathan Sutherland is a graduate of the Sydney Conservatorium of Music and the Hochschule Mozarteum in Salzburg. He is also an internationally renowned concert pianist specializing in the music of the 1930s. Jonathan’s first operatic experience was hearing Maria Callas sing Tosca in Covent Garden and he has since heard performances in all continents of the world including over 60 different productions at the Wiener Staatsoper. He has written for The Australian, Opera Today and The Opera Critic as well as Bachtrack. Jonathan speaks English, French, German and Italian fluently and is based in the south of France near Nice.