Past Production Reviews
3Ein Märchen als Traum? Warum nicht. Sven Eric Bechtolfs in den 50er Jahren im Minikönigreich Il Sogno (Der Traum) angesiedelte Inszenierung der Rossini-Oper ist zunächst vor allem eines: grell-bunt und schrill, kann aber immer wieder mit humorvollen Gags aufwarten, die das Publikum überraschen und zum Lachen reizen. Vor allem aber steht sie nie der simplen, dennoch durchaus effektvollen Handlung im Wege. Bechtolfs Personenführung ist immer nachvollziehbar und bietet den handelnden Akteuren genügend Spielraum zur Entfaltung ihrer stimmlichen und darstellerischen Fähigkeiten. Und diese sind in diesem Dramma giocoso – eigentlich eine Opera semiseria und ein Juwel des Belcanto – besonders gefragt. Eines gleich vorweg: Diese Aufführung in dieser Besetzung gibt keinerlei Anlass zur Klage!
The Royal Opera House hosts an utterly triumphant revival of Moshe Leiser and Patrice Caurier’s production of Gioachino Rossini and Cesare Sterbini’s classic opera Il barbiere di Siviglia (the barber of Seville to us mere mortals). It is an animatedly dynamic production full of fun, smiles and laughter.With a good choice of eccentric characters, a love match, in which we are invested, all amplified in the excitement of the huge time pressures of the piece, it is little wonder that the entire first half ends up culminating into a monumentally spectacular climax, helped hugely by the most incredible set flourishes from Christian Fenouillat.Vito Priante is glorious as the title role of the barber, Figaro. Both his tone and visual projection are magnificent and his humour and cheek is superb. Javier Camarena makes a glorious debut at the Royal Opera House as the Count, reviving the role he previously sung for the Metropolitan Opera in New York. His voice is almost unearthly, and with a residual power that resonates around the whole hall – it was stunning, stunning work. Daniela Mack again makes her debut at the Royal Opera House and is charming, cheeky and astute in her role of Rosina. It is another transfixing and powerful vocal delivery, made seamlessly and effortlessly by this exceptionally talented young woman.It was a delightful evening of joy, laughter, surprises and so importantly spectacular music and drama. The atmosphere was electric and the orchestra, incredibly conducted by Henrik Nánási was simply perfection. Whether you are a first time opera viewer or a seasoned professional this is not a production to miss. It is a classic done wonderfully and I would question anyone who might say, with sincerity, that they did not enjoy it.
The cast is entirely new, and it’s led by a British tenor who is now deservedly moving centre-stage in London after a long apprenticeship in Germany. Benjamin Hulett’s sound is simply glorious – rich, rounded, warm, and expressive – and he incarnates Prince Tamino as though born to play the part.
