«Singing the role of his momentous 1994 Met debut, Mr. Terfel was a larger-than-life Figaro. As his husky voice matures and darkens, he can still adapt it to the lyrical turns and fleet passagework in Mozart. Tall, rugged and burly, here was a Figaro who in a burst of desire could lift up his Susanna in one arm and twirl her around.
There was real threat in the dead-serious account of “Se vuol ballare,” when Figaro vows that if the lecherous Count intends to ensnare Susanna through an aristocratic dance of seduction, his lordship will step to Figaro’s tune. Yet in phrases in which Figaro ponders his dilemma, Mr. Terfel sang with haunting sotto-voce subtlety. The lovely young Russian soprano Ekaterina Siurina made a charming and sassy Susanna. Her tone was clear and true, her sound warm and luscious.
It was no surprise that Mr. Keenlyside gave such a complex and volatile portrayal. A consummate stage artist, he made an entitled and preening Count: effete, yes, but in a strangely sexy way. His singing was as nuanced and contrary as his characterization, elegantly dignified one moment, bullishly impulsive the next. In encounters with Susanna he seemed as hormonal as the adolescent page Cherubino, here portrayed winningly by the vocally rich and dynamic mezzo-soprano Kate Lindsey.
Marie McLaughlin as Marcellina and Maurizio Muraro as Don Bartolo were delightful. The biggest ovations, and well deserved, went to the German soprano Anja Harteros as the Countess; in both her poignant singing and her vulnerable presence, she conveyed hurt and shame over the loss of her husband’s affection. For a soprano with such a strong and earthy voice, Ms. Harteros can shape phrases with melting pianissimo tenderness.
Mr. Jordan, recently appointed music director of the Paris National Opera (starting in 2009), is emerging as a major musician. Though the performance he drew from the orchestra and cast was lively and articulate, there was plenty of space for phrases to breathe. The music flowed with disarming naturalness. His debut with the New York Philharmonic on Dec. 6 now looks like an important event of the season.»
Ok, entendido! Não digam mais! Terfel, Keenlyside e Harteros são razões de sobra!!!
There was real threat in the dead-serious account of “Se vuol ballare,” when Figaro vows that if the lecherous Count intends to ensnare Susanna through an aristocratic dance of seduction, his lordship will step to Figaro’s tune. Yet in phrases in which Figaro ponders his dilemma, Mr. Terfel sang with haunting sotto-voce subtlety. The lovely young Russian soprano Ekaterina Siurina made a charming and sassy Susanna. Her tone was clear and true, her sound warm and luscious.
It was no surprise that Mr. Keenlyside gave such a complex and volatile portrayal. A consummate stage artist, he made an entitled and preening Count: effete, yes, but in a strangely sexy way. His singing was as nuanced and contrary as his characterization, elegantly dignified one moment, bullishly impulsive the next. In encounters with Susanna he seemed as hormonal as the adolescent page Cherubino, here portrayed winningly by the vocally rich and dynamic mezzo-soprano Kate Lindsey.
Marie McLaughlin as Marcellina and Maurizio Muraro as Don Bartolo were delightful. The biggest ovations, and well deserved, went to the German soprano Anja Harteros as the Countess; in both her poignant singing and her vulnerable presence, she conveyed hurt and shame over the loss of her husband’s affection. For a soprano with such a strong and earthy voice, Ms. Harteros can shape phrases with melting pianissimo tenderness.
Mr. Jordan, recently appointed music director of the Paris National Opera (starting in 2009), is emerging as a major musician. Though the performance he drew from the orchestra and cast was lively and articulate, there was plenty of space for phrases to breathe. The music flowed with disarming naturalness. His debut with the New York Philharmonic on Dec. 6 now looks like an important event of the season.»
Ok, entendido! Não digam mais! Terfel, Keenlyside e Harteros são razões de sobra!!!
Este guarda-roupa cheira a mofo e prima pela fealdade, a começar pelos sapatos da Susana e a acabar na roupa do Conde. :)
ResponderEliminarRaul
Ao menos o conde não está vestido de Presidente de uma qualquer República no séc. XXI, o que já não se aguenta. Assim como assim, até podiam estar de pijama ou de "smoking", porque com aquelas qualidades canoras até em versão de concerto fazem teatro.
ResponderEliminarPaulo,
ResponderEliminarPrefiro mil vezes a encenação deste poster do que as referidas por si ou as Toscas naziz e os Dons Giovanni transformado num espectáculo de marionetes. É como certas encenações de Haendel. A história remete para um passado preciso, a música é defenitivamente datada e o que vemos em palco é um cenário actual. Para mim isto é um absurdo e nem vejo.
Raul
Perfeitamente de acordo, Raul. Aliás, foi por isso que mencionei as versões de concerto. Tendo bons cantores, prefiro-os assim (versão de concerto) a vê-los fazendo o pino ou qualquer outro disparate a que o encenador ache graça, para manter o espectador atento. Já se sabe que agora o público tem de ser entretido.
ResponderEliminarCumprimentos.