Muito provávelmente a melhor opera a nível internacional de momento. Mas Alex Ross ,no ultimo New Yorker, deixa um aviso:
... "As a maker of new shows, though, Gelb is struggling. The original stagings that the Met has presented so far this season—Luc Bondy’s “Tosca,” Bartlett Sher’s “The Tales of Hoffmann,” Richard Eyre’s “Carmen,” Pierre Audi’s “Attila,” and William Kentridge’s “The Nose”—have all fallen short in one way or another, ... Gelb pledged that he would dedicate himself to “opera as theatre,” avoiding the picture-postcard approach that overran the Met in the nineteen-eighties and nineties. Yet it is precisely as theatre, as vivid human storytelling, that these productions have faltered. Of course, no artistic discipline is more error-prone than opera, and a general manager should be given room to experiment, stumble, and evolve. All the same, the string of misfires this season is growing long."
Muito provávelmente a melhor opera a nível internacional de momento. Mas Alex Ross ,no ultimo New Yorker, deixa um aviso:
ResponderEliminar... "As a maker of new shows, though, Gelb is struggling. The original stagings that the Met has presented so far this season—Luc Bondy’s “Tosca,” Bartlett Sher’s “The Tales of Hoffmann,” Richard Eyre’s “Carmen,” Pierre Audi’s “Attila,” and William Kentridge’s “The Nose”—have all fallen short in one way or another, ... Gelb pledged that he would dedicate himself to “opera as theatre,” avoiding the picture-postcard approach that overran the Met in the nineteen-eighties and nineties. Yet it is precisely as theatre, as vivid human storytelling, that these productions have faltered. Of course, no artistic discipline is more error-prone than opera, and a general manager should be given room to experiment, stumble, and evolve. All the same, the string of misfires this season is growing long."
Barroquices este Ross & Co.
ResponderEliminarRAUL