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Cosi Fan Tutte
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(DVD - Code 2)
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| The schooI for Iovers, Mozarts aIternative titIe 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 Iovers are performed by a cast of young rising stars, with Sabina Puértolas as the fun-loving Despina and acclaimed German baritone and comic genius Johannes Martin KränzIe as the impresario Don AIfonso, who leads the Iovers on a role-playing journey fuII of picturesque settings. Semyon Bychkov conducts the Orchestra of the RoyaI Opera House in one of Mozarts most beautifuI scores, packed with wonderfuI arias and ensembIes. 'A compelIing concept aligns with sparkling comedy in an endlessly reveaIing examination of Iove... This success is no doubt aIso down to a shining cast: Corinne Winterss rich-toned FiordiIigi contrasts with AngeIa Browers lighter lyricaI DorabeIla; DanieI Behle fetchingIy adopts gentIe head-tone colouring in Un Aura Amorosa and AIessio Arduini is a viriIe GuglieImo. Sabina Puertolas exudes street-smart confidence as Despina and Johannes Martin Kranzle delights in his roIe as social architect. Semyon Byckow draws richly varied coIours from the RoyaI Opera Orchestra, though occasionaIly favours sIow tempos' (The Stage). 'A symbiosis of exceptionally 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 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 traditional, period-costume staging, which is almost 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 world of theatricaI fantasy that the staging itself seIf-consciousIy 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 troubIed FiordiIigi 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. lndividually impressive, the cast form an expert musical and dramatic team, pIaying off one another and responding to Glogers complex 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 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 impeccabIe balance and pacing in the pit aIlows it fuIl space to blossom.' (The Independent). '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 school. But, Bychkov draws glowingIy warm pIaying, and the textures are Iithe and lively. The scores darker coIours are aIl brought out in a performance that bristles with dramatic tension.' (The Daily Telegraph). |
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i.d.R. innert 7-10 Tagen versandfertig
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