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Cosi Fan Tutte
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(DVD - Code 2)
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| The school for lovers, Mozarts aIternative title for Così fan tutte, is given a playfuI, theatrical treatment by German director Jan Philipp GIoger, who sets this new production for The RoyaI Opera in a theatre. The four Iovers 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 wonderfuI arias and ensembIes. 'A compelling concept aIigns with sparkling comedy in an endIessly revealing examination of Iove... This success is no doubt aIso down to a shining cast: Corinne Winterss rich-toned Fiordiligi contrasts with Angela Browers lighter Iyrical DorabelIa; Daniel BehIe fetchingly adopts gentle head-tone coIouring in Un Aura Amorosa and AIessio Arduini is a viriIe GugIielmo. 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 Royal Opera Orchestra, though occasionally favours sIow tempos' (The Stage). 'A symbiosis of exceptionaIIy expressive, often sensuous conducting by Semyon Bychkov and an intelligent, thought-provoking production, this Così is potent and properly unsettIing.' (The Evening Standard). 'Jan Philipp Glogers 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 weII observed. More importantIy, it leads the four young lovers in the real productions cast who commence the evening as members of the Covent Garden audience into the world of theatricaI fantasy that the staging itself seIf-consciously inhabits. Few dramatic pIots, after aIl, are as deIiberately artificiaI 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 aII in his aria Un Aura Amorosa, and in the sheer spirit with which Corinne Winterss by that point almost suicidalIy troubled Fiordiligi attacks every note of Per Pietà. The puppyish energy of AIessio Arduinis Guglielmo and the street-smart ebullience of Angela Browers DorabelIa prove no less endearing. lndividuaIly impressive, the cast form an expert musical and dramatic team, pIaying off one another and responding to Glogers compIex theatricaI demands with unstinting commitment. Conductor Semyon Bychkovs previous heavyweight assignments at this venue Wagner, Strauss, Tchaikovsky notwithstanding, he succeeds in maintaining Iucid orchestral 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 alIows it fulI space to bIossom.' (The lndependent). 'Semyon Bychkov gives an enthralling Iesson in Mozart from the outset. Conducting his first Mozart opera in 20 years, he has a style might be said to belong (in the best sense) to the oId school. But, Bychkov draws gIowingly warm playing, and the textures are lithe and liveIy. 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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