Recenzii de producție anterioare
20月20日、ドルトムント・オペラで《フレデゴンド》新制作を観ました。 これはドイツ初演でしたが、コロナ禍のため、日程やコンセプトの変更を余儀なくさ れ、プレミエを迎えたものです。 指揮は同オペラの音楽総監督代理兼第一カペルマイスターの小林資典です。 プログラム。 配役表。 劇場フォワイエ、２階部分です。 今回はコロナ禍ということもあり、コーラスがパルケット（平土間）で歌うので、パ ルケットには観客は入れません。 客席から。 オーケストラはピットではなく、ステージ奥に位置しています。 ステージにはスクリーンがかかりフィルムが映写されます。 その前下にテーブルと椅子があり、歌手はそこで歌い、演技します。 カーテンコール。 中央に指揮の小林資典が見えます。 演出チームも登場。
The cinematic shots merge with the music to create an impressive experience, which has an almost monumental character due to the magnificent shots from the castle in the black and white look. Together with the Dortmund Philharmonic, Motonori Kobayashi explores the colourful score in a differentiated way and immerses the audience in a great sound experience. The opera choir rehearsed by Fabio Mancini and the soloists also leave nothing to be desired. Anna Sohn inspires as Brunhilda with radiant soprano and luminous highs. Hyona Kim equips the scheming ruler of Neustria with rich mezzo and intense play, which is especially evident in the close-ups in the film. Here you can directly get afraid of Kim's cold look. Sergey Romanovsky as Mérowig has a powerful lyrical tenor who finds a moving unity in interaction with Sohn's soprano. He also inspires in the cinematic representation. Mandla Mndebele equips King Hilpéric with a powerful baritone, who knows how to thunder vocally, but makes it clear that he is only a pawn of his wife. The smaller games are also very well occupied. Sungho Kim and Denis Velev deserve special mention here. Marie-Eve Signeyrole succeeds with the cinematic implementation a great approach to a material that is relatively unknown in Germany, and could almost pass as a French history lesson. Guiraud and Saint-Saëns' music is definitely worth rediscovering.
Bakanova is undeniably the star of the show. Her voice, pure and clean, dips and rises above the orchestra. She exudes a simmering balance of gentility and intensity, weakness and strength. Her dramatization of Violetta is as brilliant and vibrant as her voice, and the emotion she injects into her arias, particularly Amami, Alfredo and the haunting Addio, del passato, is palpable. Ayan, in comparison, is less remarkable, as Bakanova is so mesmerising, but he is also a fine actor and an even better tenor. He is commanding and forthcoming as Alfredo, and perhaps with a little more warmth towards Violetta, the chemistry between the pair wouldn’t have felt as flat in the first act. However, their interactions improve in vigour and sincerity towards the end of the piece, and it becomes devastating to listen as they make plans in vain in Parigi, o cara at the end of the third act. Baritone Nicola Alaimo as Giorgio Germont sometimes goes unheard beneath the orchestra, while Doctor Grenvil (David Shipley) performs his few lines with surprising power and clarity. Designer Bob Crowley’s set is simple and understated, and not at all overbearing. During the final act, the wide-open space and Parisian shutters, with peeling walls of washed-out grey make the perfect space for Violetta. The lighting design by Jean Kalman is stunning, from the ominous shadow cast over Giorgio during the second act, to Violetta’s apartment awash with blue light as silhouettes of carnival revellers are seen passing by outside. La Traviata is so tragic it is almost painful, but in the most exquisite way. The tale of a fallen woman, struck by an incurable affliction in the prime of her life, is sure to pull at your heartstrings. If you’ve never been to the opera, as I hadn’t before seeing La Traviata, then I whole-heartedly recommend it. It’s grandiose, it’s a spectacle, and the cast and orchestra are obviously sublimely talented. Don’t be put off by the running time of three hours and forty-five minutes, as it’s all over far too quickly. This production of La Traviata is tender, heart-breaking, and simply beautiful.
Dass sich auf der riesigen Bühne so etwas wie Intimität einstellt, das liegt auch an den Musikern. Stephen Costello ist ein viriler und stimmlich schneidiger Herzog, der sich mühelos in die Herzen der Frauen singt.
