"LA BOHÈME" METLIVE FUNDAÇÃO GULBENKIAN, ABRIL DE 2014. CRÍTICA DE FANÁTICO UM NO BLOG DE ÓPERA E BALLET.
(review in english below)
La Bohème, de G. Puccini foi transmitida em diferido da Metrepolitan Opera. A história de amor entre o poeta Rodolfo e a tuberculosa Mimi está recheada de momentos musicais de grande lirismo e intensidade dramática que fazem desta ópera uma das mais apreciadas do compositor. Já tinha visto esta produção de Zeffirelli no Met, como referi aqui, e conto-me entre os que muito a admiram, apesar de ter sido estreada em 1981. Toda ela é fantástica mas o esplendor do 2º Acto no Café Momus e a eficácia do 3º Acto na Barrière d’Enfer são magníficas.
Dirigiu o maestro Stefano Ranzani. Orquestra e Coro da Metropolitan Opera, como sempre, em grande.
Kristine Opolais foi uma substituta de última hora de Anita Hartig. Havia cantado a Butterfly na véspera, um feito notável, devidamente assinalado por Peter Gelb. A cantora tem uma voz poderosa, bem timbrada, mas a interpretação foi excessivamente dramática, faltando-lhe a simplicidade e ingenuidade características da Mimi, sobretudo nos dois primeiros actos. Muito boa presença em palco.
Vittorio Grigolo comparou-se a Pavarotti, mas só mesmo por serem ambos italianos. A voz é decente e segura, embora não muito encorpada. O seu Rodolfo esteve muito aquém do desejável. O que teve a mais cenicamente, faltou-lhe na voz - emotividade, essencial na personagem. Para mim foi a pior interpretação que vi dele porque não parecia estar a “viver” a personagem.
Susanna Phillips foi, de longe, a melhor solista em palco. Fez uma Musetta excepcional. Voz bela e fresca, grande expressividade, genuinidade e alegria. E uma interpretação cénica insuperável. Fantástica.
Massimo Cavalletti também deixou uma muito boa impressão como Marcello. Donald Maxwell foi um Benoit digno. Já Patrick Carfizzi como Schaunard e Oren Gradus como Colline tiveram interpretações banais.
Uma Bohème que valeu, sobretudo, pela encenação e pela Musetta (Susanna Phillips).
***
La Boheme MetLive, Gulbenkian Foundation, April 2014
La Boheme by G. Puccini was broadcast deferred from the Metrepolitan Opera. The love story between the poet Rodolfo and tuberculosis Mimi is full of musical moments of great lyricism and dramatic intensity that make this one of the most beloved operas by the composer. I had seen this production by Zeffirelli at the Met, as I mentioned here, and I am one of those who really admire it, despite being premiered in 1981. All the production is fantastic but the splendor of the 2nd Act at Café Momus and the effectiveness of the 3rdAct at Barrière d' Enfer are magnificent.
The musical direction was of maestro Stefano Ranzani. The Orchestra and Chorus of the Metropolitan Opera was, as always, great.
Kristine Opolais was a last minute replacement of Anita Hartig. She sung Butterfly the day before, a remarkable achievement, duly noted by Peter Gelb. The singer has a powerful voice annice timbre, but the interpretation was overly dramatic, lacking the simplicity and ingenuity characteristic of Mim , especially in the first two acts . Her stage presence was very good.
Vittorio Grigolo compared himself to Pavarotti, but I think the only point in common is that they are both Italian. The voice is decent and firm, although not very full-bodied. His Rodolfo was far from the desirable. What was excessive scenically, lacked in voice - emotiveness, essential in this character. For me it was the worst performance I've seen by Grigolo because he seemed not to be "living" Rodolfo.
Susanna Phillips was by far the best soloist on stage. She performed an exceptional Musetta. Fresh and beautiful voice, great expressiveness, authenticity and joy. And with an unsurpassed scenic interpretation. Fantastic.
Massimo Cavalletti also left a very good impression as Marcello. Donald Maxwell was a worthy Benoit. Patrick Carfizzi as Schaunard and Oren Gradus as Colline had trivial interpretations.
A Bohème valuable only due to the production and to Musetta ( Susanna Phillips).
La Boheme by G. Puccini was broadcast deferred from the Metrepolitan Opera. The love story between the poet Rodolfo and tuberculosis Mimi is full of musical moments of great lyricism and dramatic intensity that make this one of the most beloved operas by the composer. I had seen this production by Zeffirelli at the Met, as I mentioned here, and I am one of those who really admire it, despite being premiered in 1981. All the production is fantastic but the splendor of the 2nd Act at Café Momus and the effectiveness of the 3rdAct at Barrière d' Enfer are magnificent.
The musical direction was of maestro Stefano Ranzani. The Orchestra and Chorus of the Metropolitan Opera was, as always, great.
Kristine Opolais was a last minute replacement of Anita Hartig. She sung Butterfly the day before, a remarkable achievement, duly noted by Peter Gelb. The singer has a powerful voice annice timbre, but the interpretation was overly dramatic, lacking the simplicity and ingenuity characteristic of Mim , especially in the first two acts . Her stage presence was very good.
Vittorio Grigolo compared himself to Pavarotti, but I think the only point in common is that they are both Italian. The voice is decent and firm, although not very full-bodied. His Rodolfo was far from the desirable. What was excessive scenically, lacked in voice - emotiveness, essential in this character. For me it was the worst performance I've seen by Grigolo because he seemed not to be "living" Rodolfo.
Susanna Phillips was by far the best soloist on stage. She performed an exceptional Musetta. Fresh and beautiful voice, great expressiveness, authenticity and joy. And with an unsurpassed scenic interpretation. Fantastic.
Massimo Cavalletti also left a very good impression as Marcello. Donald Maxwell was a worthy Benoit. Patrick Carfizzi as Schaunard and Oren Gradus as Colline had trivial interpretations.
A Bohème valuable only due to the production and to Musetta ( Susanna Phillips).
Fanatico Um
Fonte:http://fanaticosdaopera.blogspot.com.br/
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