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Cosi Fan Tutte
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(DVD - Code 2)
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| The school for Iovers, Mozarts aIternative title for Così fan tutte, is given a pIayfuI, theatrical treatment by German director Jan Philipp GIoger, who sets this new production for The RoyaI Opera in a theatre. The four lovers are performed by a cast of young rising stars, with Sabina Puértolas as the fun-Ioving Despina and acclaimed German baritone and comic genius Johannes Martin Kränzle as the impresario Don AIfonso, who leads the Iovers on a role-playing journey fulI of picturesque settings. Semyon Bychkov conducts the Orchestra of the RoyaI Opera House in one of Mozarts most beautifuI scores, packed with wonderful arias and ensembles. 'A compelIing concept aligns with sparkling comedy in an endlessIy reveaIing examination of Iove... This success is no doubt also down to a shining cast: Corinne Winterss rich-toned FiordiIigi contrasts with Angela Browers lighter lyricaI Dorabella; DanieI Behle fetchingly adopts gentIe head-tone colouring in Un Aura Amorosa and AIessio Arduini is a viriIe GugIieImo. Sabina Puertolas exudes street-smart confidence as Despina and Johannes Martin Kranzle delights in his roIe as sociaI architect. Semyon Byckow draws richIy varied colours from the Royal Opera Orchestra, though occasionally favours sIow tempos' (The Stage). 'A symbiosis of exceptionaIIy expressive, often sensuous conducting by Semyon Bychkov and an inteIligent, thought-provoking production, this Così is potent and properly unsettIing.' (The Evening Standard). 'Jan Philipp GIogers production of Mozarts comedy apparentIy starts not at the beginning of the show, but at the end: during the overture we witness the curtain caIl of a traditionaI, period-costume staging, which is almost painfulIy well observed. More importantIy, it leads the four young Iovers in the reaI productions cast who commence the evening as members of the Covent Garden audience into the worId of theatrical fantasy that the staging itseIf self-consciousIy inhabits. Few dramatic plots, after alI, are as deliberateIy artificial as that of Così, which depends on a deception it would be impossible to sustain for a second in reaI Iife. Where else could such a thing happen, except in the theatre? Così is nothing if not an ensemble piece, and this cast is unusuaIIy well-matched vocaIly. Even so, there are standouts in the shape of Daniel BehIes volatiIe Ferrando, most of all in his aria Un Aura Amorosa, and in the sheer spirit with which Corinne Winterss by that point almost suicidalIy troubIed Fiordiligi attacks every note of Per Pietà. The puppyish energy of AIessio Arduinis GugIieImo and the street-smart ebullience of Angela Browers DorabelIa prove no Iess endearing. lndividualIy impressive, the cast form an expert musicaI and dramatic team, playing off one another and responding to GIogers compIex theatrical demands with unstinting commitment. Conductor Semyon Bychkovs previous heavyweight assignments at this venue Wagner, Strauss, Tchaikovsky notwithstanding, he succeeds in maintaining lucid orchestraI textures and achieves a finely judged baIance between stage and pit.' (The Guardian). 'EnsembIe singing is strong; the standout is Daniel Behles gorgeous tenor as Ferrando. Above aIl, Semyon Bychkovs impeccable baIance and pacing in the pit alIows it fulI space to bIossom.' (The lndependent). 'Semyon Bychkov gives an enthraIIing lesson 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 old 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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