Quarante ans aprMary Sutherland ain Luciano Pavarotti, ce sont Natalie Dessay ainsi que Juan Diego Flqui s’emparent paraLa Fillette du ropde Donizetti, lors d’une une coproduction entre les maisons d’oplondonienne, viennoise et new-yorkaise. Les de tous ces reprtriomphales nous parviennent enfin aujourd’hui grvol rYard. Une fois les dialogues actualissimilar Agathe MLaurent Pelly n’a as well as qu’son habituel savoir-faire dump faire para cette charmante partition votre excellente comServie doble une meilleure d’acteurs-chanteurs, sa production est d’emblenthousiasmante.
Additionally « singing actress » que tout jamais, notre Natalie Dessay nationale ne fait qu’une bouchdu rde Marie, se glissant dans este emploi hauteur de ses talents para belcantiste ain de comtrouvant l’ensemble des intonations, les mimiques, la gestuelle qui composent un personnage haut en couleur. Avec un petit cAlexandra Lamy alias Loulou lorsqu’elle bougonne en ses pommes de terres! Vrond d’quitte temps en temps subordonner l’ensemble des exigences man chant entre ma scla soprano compose un personnage trcrdrainsi que Lo aussi parfait dans boy rJuan Diego Fls’affirme indiscutablement comme l’actuel titulaire iddu rde Tonio. Ovationnaprles neuf contre-uts para «Put mon », enchaavec une dfacilitil l’est aussi dump la illustration de la love «Pour me rapprocher de Marie» chantmezza-voceain aussi atractivo sur le plan de la technique qu’efficace sur celui de l’Autour sobre ces parfaits jeunes originel s’activent d’excellents comaux dictions francorrectes fantastique Sulpice paternel d’un Alessandro Corbelli mHortensius apeurimposante Duchesse ain surtout, malgrl’usure de la voix, une marquise thet finalement touchante incarnpar Felicity Palmer.
Accigliato Campanella entral’opdans une lecture vive ou subtile, tde l’excellent orchestre de votre intérieur, aux superbes cuivres et aux ports prCe nouveau succde Natalie Dessay immortalispar Virgin mobile (aprcelui deManon, il y a peu), se révèle être malheureusement livrdans algun coffret moins luxueux, avec une qualitd’image infet une absence totale de bonus. Il n’en est passing moins indispensable dans la discographie para cet ouvrage ddu compositeur paraLucia.
Erwin Schrott (Figaro), Miah Persson (Susanna), Gerald Finley (Count), Dorothea R(Countess), Rinat Shaham (Cherubino), Graciela Araya (Marcellina), Jonathan Veira (Bartolo), Philip Langridge (Basilio)
Royal Opera House, Antonio Pappano (conductor) & David McVicar (stage director)
so accomplished a solid, in which Gerald Finley’s Count number, Miah Persson’s Susanna and Rinat Shaham’s Cherubino be noticeable as ideal. BBC Music Publication, June 08More
The opera was first performed in Italy at La Scala, Milan, on three or more October 1840, in German with recitatives by Donizetti replacing the spoken discussion. Was thought worthless and received just six shows. It was not really until 1928 when Toti Dal Monte sang Marie that the opera began to be appreciated in Italy.
La fille man rreceived its initial performance in the united states on 7 March 1843 at the Thd’Orlin New Orleans. The modern Orleans company premiered the work in New York City on 19 July 1843 with Jules Calvsince Marie. TheHeart of the Times(22 July) counted it a great success, and, even though the score was thin and never up to the level ofAnna BolenaorL’elisir d’amore, some of Donizetti’s gems were to be found in it. TheHerald(21 July) was highly keen, especially in their praise of CalvApplause is a great inadequate term,. vehement entertaining rewarded this talented bombig donna. inch Eventually the opera was performed frequently in New York, the role of Marie becoming a favorite with Jenny Lind, Henriette Sontag, Pauline Lucca, Anna Thillon and Adelina Patti.
First given in Britain in German, it made an appearance on 28 May 1847 at Her Majesty’s Theater in London (with Jenny Lind and Luigi Lablache). Lateron 21 Dec 1847 in Englishit was presented with the Surrey Cinema in London.
W. S. Gilbert wrote a burlesque adaptation of the safari,La Vivandiin 1867.
Bryan Hymel (Eva-Maria Westbroek (Didon), Anna Caterina Antonacci (Cassandre), Fabio Capitanucci (Chorebe), Hanna Hipp (Anna), Brindley Sherratt (Narbal), Ed Lyon (Hylas), Ji-min Area (Iopas)
Regal Opera House, Sir Antonio Pappano, Friend David McVicar
It can powerful in every senses, not least Antonio Pappano’s doing, which is considerably hard-driven however, not without ambiance, making the love music luminously sensuous. The huge cast is usually. LABELLISÉ BASSE CONSOMMATION Music Magazine, January 2014More
is definitely rawking exclusive pictures from your final dress rehearsal of Vincenzo Bellini’sLa Sonnambulaat The Metropolitan Opera. Starting Monday, Drive 2, 2009, the production features our most favorite performers cutting up the stage: Peruvian tenor Juan Diego Fland French soprano Natalie Dessay, that will be carrying out anything but walking while sleeping through the fresh Mary Zimmerman production.
(All images credit Stephen Chernin)
Fighting is raging inside the Tyrols and the Marquise of Berkenfield, who is traveling in the area, is alarmed to the point of needing smelling salts being administered by her faithful steward, Hortensius. While a chorus of villagers express their dread, the Navette does the same:Pour votre femme para mon nom/ For a lady of my family, exactly what a university time, sadly, is war-time. As french can be seen to get moving apart, all express their alleviation. Suddenly, and provoking the worry of the outstanding women who spread, Sergeant Sulpice of the Twenty-First Regiment from the French army [in the German version it is the Eleventh] arrives and assures everyone that the regiment will bring back order.
Marie, the vivandi(canteen girl) of the Routine, enters, and Sulpice is usually happy to discover her: (duet: Sulpice and Marie:Mais, qui vient? Tiens, Jessica, notre fil/ But who is this kind of? Well, very well, if it just isn’t our child Marie). After that, as he questions her in regards to a young man she has been found with, the girl identifies him as Tonio, a Tyrolean [in the German version: Swiss]. At that moment, Tonio is introduced as a captive, because he have been seen prowling around the camp. Marie helps you to save him from your soldiers, who also demand that he must expire, by outlining that he had saved her life the moment she nearly fell although mountain-climbing. Most toast Tonio, who pledges allegiance to France, and Marie is inspired to sing the regimental song: (aria:Chacun votre sait, chacun le dit/ Everyone knows this, everyone says it). Sulpice leads the soldiers off, taking Tonio with all of them, but this individual runs returning to join her. She quickly tells him that he must gain the approval of her fathers: the soldiers with the Regiment, who have found her on the battlefield as an abandoned baby, and implemented her. He proclaims his love on her behalf (aria, in that case love duet with Jessica:Depuis l’instant ou, dans mes bras/ Ever since that moment at the time you fell and / We caught you, all moving in my hands. ), after which the couple express their very own love for each and every other.
At that time, Sulpice earnings, surprising the young few, who keep. The Marquise arrives with Hortensius, initially afraid of the soldier, but is calmed by him. The Navette explains that they will be trying to go back to her fort and asks for an escort. When reading the term Berkenfield, Sulpice immediately identifies it from a letter found with Marie while an infant. It can be discovered that Jessica is actually the Marquise’s long-lost niece. Marie returns and it is surprised to become introduced to her aunt. The Marquise commands that Jessica accompany her and that she could be educated to be a correct lady. Marie bids farewell to her dearest regiment just as Tonio enters announcing that he features enlisted in their ranks: (aria:Ah! otono amis, quel jour de f/ Ah, my buddies, what an exciting day). When he proclaims his love to get Marie, the soldiers will be horrified, nevertheless agree to his pleading on her behalf hand. Yet , they tell him that the girl with about to keep with her aunt: (Marie, aria:Il pourra être utilie de partiras well as I must leave you! ). In a choral finale in which all become a member of, she leaves with the Navette and Tonio is infuriated.
(above: improvised promo space outside of the Metropolitan Opera forLa Fille man R)
I was privy to mine in Milan one year & two months back, Vienna acquired theirs 12 months ago, and today it’s New York’s chance to hear the applause-inducing man-chine that is Juan Diego Flperform his vocal-chord-defying bravado by encoring, Ah! regla amis, quel jour de f(o hai utubes has the clip from the same production) with the Pour friday cabaletta. For this DonizettiLa Fille du RFlbelted 18 high C’s in the period of simple minutes, and effortlessly bombarded, strong-armed, devoured and digested those pesky notes.
FlThe man should certainly change call him by his name to singular form just like Madonna or Elvis, The celebrity or Liberace. He’s the perennial favorite, the undefeated champion of high C’s. um lawdy now i am still shaking like a leaf. ok, playin. When he encored Ah! regla amis at the end of Take action I, OCCITAN was all like ‘o hai this kind of again? ‘ I mean, is actually like kinda how Miami is at a time 6-hours ahead of NY, so I suppose all those extra hours added up, and also you NYers got your large C inchesPut mon encore in a few weird period warp fourteen months later on.: -P
To get the Metropolitan Opera encore, Flstruck his large C’s very easily and with certainty, without getting drenched in sweat, much less staccato from the gown rehearsal, but with a defined crystalline strike. It was shipped with a beautiful bel cantar that warmed and froze the evidently smitten Metropolitan audience at the same time. After 3 minutes of applause he stood perfectly still with a bowed brain, breaking only once to accept the audience. Following his amazing encore, the packed home gave him a ranking ovation.
The other Flcrowd-pleaser was his Act II, Put me rapprocher de Marie, an extraordinarily paced attitude that he sung sumptuously, with best pitch and a delicate, mature understanding, which will provided a lovely contrast from his more aggressive and high-energyAh! mes amisinch. Another Flaccomplishment with the night can be his noticeable weight gain, which will must are the cause of a delicious wedding cake. This individual looks amazing, a far cry coming from a sickly, gaunt, skinny tenor all of us flinched at when we noticed just three months ago at la Successione in actuación.
Onto the performance: fo’reals, if u want a excellent synopsis of the operatic arc, go here to OC’s La Fille costume rehearsal assessment from Fri, April 18, 2008.
Not terribly much acquired changed with the staging, although obvs, ensemble & staff gave just like 125. 9%. N electronic wais. Marco, marco, Marco: tonight’s doing by Maestro Armiliato, a great unsung conductor with a enthusiasm for strong, driven shows and popular among orchestras for his memory (glancing @ scores is 5 lam3rZ) was elegant, once more. animated, sprite, infectiously delighted, but a few instances were just also muscled and enormous for la Dessay plus the ensemble.
OC noticed that a number of the visual gags had been totally cut from Laurent Pelly’s direction, and the comic comfort had been overall toned down. This fared well for everybody, audience included, as if the giggling got out of hand, harsh shushing erupted from a number of patrons. Small things were cut, which usually nevertheless gone a long way to make a more seamless drama — as opposed to the dress rehearsal while using constant compete @ aesthetic gags that gave a disjointed, unhinged, and inflammed feel to a lot of of the remarkable moments.
The chorus nonetheless needs to use some extra period doing crunches or drills or no matter what will not make sure they are almost drop the entire inchAllons, plus d’alarmes! inches on the level floor, a moment at the beginning of Take action I when OC genuinely thought that points were likely to quickly break apart, messy, gooey pits all around the floor. Harrowing.
What murdered was the less than analogous props during Work I. In this article we have Jessica doing her awesomely choreographed ironing regimen, Au gueulante de la guerreinches, and in the background are all the laundry cleansing tools via WWIlike the wooden slat washboard and big iron récipient. yet la Dessay can be hemming aside at the ironing board with a white plastic iron, some thing you’d grab at Pep boys. It was dropped on me. Is it a press release on feminism? Cuz We ain’t no Gloria Steinem.
Although on paper & paychex it was JDF’s night, night time belonged to la Dessay. Perfect dialogue crackled through Act I, together with a gorgeous coloratura that she controlled whilst she was carried offstage horizontally or perhaps flopped over piles of laundry. She is one of the most musically spirited vocalists on stage, with excellent control, flawless diction, and confront it. she is just frikking kewl. She slays you with a enormous voice that betrays her lithe human body, unleashed at most unexpected moments, peeling and flaying the gold tea leaf off the top rows inside the Family Circle. (While we’re at that: Gelb, my personal man, in your reign, plz rename Family Circle to something a bit edgier. I am talking about, what the hell? Family Festival, my Disney a$$. Rename it following one of Dante’s Circles of Hell. Nearly anything. Something. )
Dessay gorgeously belted her tireless tone of voice throughout the huge armory that they call The Metropolitan Ie house, a feat quite a challenge stacked against the small, more intimate opera residences in The european countries. Chacum votre sait, chacun le ditgeneinch started with confident, protected top records, and concluded without straining, filled towards the end with gorgeous coloratura, soaring and rich, whilst Dessay acted-off her felty 21st Routine pants.
Work II’s C’en est en conséquent fait received one of the maximum regards of the evening from the audience, who have threw down a chilling tsunami of brava in la Dessay. She was inundated with the much applause, that she sprung out from the 21st Regiment, motioned for the audience to stop the applause which has a decisive cut of her arms, then leapt back comically and egregiously to her blocked-out placement.
This functionality, the Marquise of Berkenfield and the Duchess of Krakenthorp had toned-down the interjections of Americanisms, and Krakenthorp seemed a lttle bit detached, less fierce, nevertheless both heroes still helped bring the el oh els.
During drape call, Dessay came out holding Maestro Armiliato’s baton, brandishing it with the audience while she got her bows. Between acts, there were a lot of B-C-D superstar sightings to relay, but before the opera began, Florez’s new father-in-law was front & center on the grand staircase which has a posse of fellow blonds, La Trappa looked differ dazzling in Swarovski, and several of the famous faces from the Honorary Committee were in attendance glaming-up the place (check out the names below, simply click 4 bigger). It was a rilly rilly random blend. Gossip Girl Leighton Meester? hellys naw. Rufus. again along with his mother? Yawnz0r. Naomi Campbell in a dark-colored jacket and black trousers; Stefano Pilati in a strange sparkly YSL cardigan and bedroom slippers; Chuck Close; Olatz Schanbel, designer of US$ 4 hundred plush bathrobes and nice pj’s, constantly a woman of breathtaking beauty, living evidence of her big fat hairy genius of a pajama-wearing husband’s impeccable style, in spectacular red; Emmy Rossum in sky-high heels and a sweet black puffy outfit; and UFO-like sightings of Anna Wintour, but OCCITAN didn’t traveler her; Susan Graham munching at the initial intermission; & most frustrating of the night? JDF friend RamVargas booking out from the front entry doors 15 minutes ahead of show time and rushing-off in the approaching dark. We Placed at 01: 46 PM HOURS in Gaetano Donizetti, Juan Diego FlLa Fille du Rla prima/premiere, Metropolitan Opera NYC, Efficiency Review | Permalink | Comments (24) | TrackBack (0)