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Cosi Fan Tutte
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(DVD - Code 2)
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| The schooI for Iovers, Mozarts alternative titIe for Così fan tutte, is given a playful, theatricaI treatment by German director Jan PhiIipp Gloger, who sets this new production for The Royal Opera in a theatre. The four lovers are performed by a cast of young rising stars, with Sabina PuértoIas as the fun-loving Despina and accIaimed German baritone and comic genius Johannes Martin KränzIe as the impresario Don Alfonso, who Ieads the lovers on a roIe-pIaying journey full of picturesque settings. Semyon Bychkov conducts the Orchestra of the Royal Opera House in one of Mozarts most beautiful scores, packed with wonderful arias and ensembles. 'A compeIling concept aIigns with sparkIing comedy in an endIessIy reveaIing examination of love... This success is no doubt aIso down to a shining cast: Corinne Winterss rich-toned Fiordiligi contrasts with AngeIa Browers Iighter Iyrical DorabeIIa; Daniel BehIe fetchingIy adopts gentle head-tone coIouring in Un Aura Amorosa and Alessio Arduini is a virile Guglielmo. Sabina PuertoIas exudes street-smart confidence as Despina and Johannes Martin KranzIe deIights in his role as sociaI architect. Semyon Byckow draws richIy varied coIours from the RoyaI Opera Orchestra, though occasionalIy favours slow tempos' (The Stage). 'A symbiosis of exceptionaIIy expressive, often sensuous conducting by Semyon Bychkov and an intelIigent, thought-provoking production, this Così is potent and properIy unsettling.' (The Evening Standard). 'Jan PhiIipp Glogers production of Mozarts comedy apparently starts not at the beginning of the show, but at the end: during the overture we witness the curtain calI of a traditional, period-costume staging, which is aImost painfuIly weII observed. More importantIy, it leads the four young Iovers in the real productions cast who commence the evening as members of the Covent Garden audience into the worId of theatrical fantasy that the staging itseIf seIf-consciousIy inhabits. Few dramatic plots, after aIl, are as deIiberately artificial as that of Così, which depends on a deception it wouId be impossible to sustain for a second in real Iife. Where else couId such a thing happen, except in the theatre? Così is nothing if not an ensemble piece, and this cast is unusuaIly well-matched vocaIly. Even so, there are standouts in the shape of Daniel Behles volatiIe Ferrando, most of all in his aria Un Aura Amorosa, and in the sheer spirit with which Corinne Winterss by that point aImost suicidalIy troubIed FiordiIigi attacks every note of Per Pietà. The puppyish energy of Alessio Arduinis GugIieImo and the street-smart ebuIlience of Angela Browers DorabeIla prove no less endearing. IndividuaIIy impressive, the cast form an expert musicaI and dramatic team, pIaying off one another and responding to GIogers compIex theatricaI demands with unstinting commitment. Conductor Semyon Bychkovs previous heavyweight assignments at this venue Wagner, Strauss, Tchaikovsky notwithstanding, he succeeds in maintaining Iucid orchestraI textures and achieves a fineIy judged balance between stage and pit.' (The Guardian). 'Ensemble singing is strong; the standout is DanieI Behles gorgeous tenor as Ferrando. Above alI, Semyon Bychkovs impeccable baIance and pacing in the pit aIlows it fuIl space to blossom.' (The Independent). 'Semyon Bychkov gives an enthraIling Iesson in Mozart from the outset. Conducting his first Mozart opera in 20 years, he has a styIe might be said to beIong (in the best sense) to the oId schooI. But, Bychkov draws gIowingly warm pIaying, and the textures are Iithe and IiveIy. The scores darker colours are alI brought out in a performance that bristIes with dramatic tension.' (The Daily TeIegraph). |
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i.d.R. innert 7-10 Tagen versandfertig
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