Recenzijas par iepriekšējiem iestudējumiem
3Uno de los momentos más esperados y aplaudidos es el famosísimo coro de niños del primer acto, y hemos de decir que el coro Sinan Kay estuvo realmente magnífico. Un gran bravo también a su directora, Lara Diloy, que consiguió un empaste perfecto, una dicción clara y mucha gracia en esa intervención tan especial.
The orchestra played at its best, with good and polished sound and with contagious enthusiasm for the first time in the season. Even if Ivor Bolton gave a vivid rendition of the score, with quick tempi and vibrant accent, he did not find the unclassifiable tone that the score requires (he cannot be too harshly blamed, though). He rightly underlined the comic traits with a joyous touch of operetta and saturating sound in the tutti, favouring volume over contrast and colour. The chorus suffered a bit from the loud pit but sounded fine in the carnival scenes.A more attractive cast would have raised the stakes of the performance, but no singer seemed willing (or able) to take the lead. Manuela Uhl is a fine singer with a powerful lyric soprano that makes her perfect for Wagner's “blonde heroines". Isabella.Christopher Maltman was brilliant as the awkward villain, Friedrich. He is a great actor and was the only one who offered an original and genuinely comic performance. Vocally, his lyric baritone lacked authority and even timbre, but he gave an overall good rendition. Bass Ante Jerkunica, an interesting voice, made the most of his funny judgement scene. Ilker Arcayürek was overwhelmed by the otherwise reasonable requirements of the beautifully written role of Claudio, and even lost his voice during the final duo with Isabella. The other tenor, of a very similar vocality, Peter Lodahl, had better fortune as Luzio.
In dieser Vorstellung übernahm der holländische Bariton Peter Bording die Titelrolle, und stellte mit seinem kräftigen Bariton einen eleganten Figaro dar [...].
