"COSÌ FAN TUTTE" , DE MOZART, METROPOLITAN OPERA HOUSE, NOVA YORQUE, ABRIL DE 2014. CRÍTICA DE FANÁTICO UM NO BLOG DE ÓPERA E BALLET.
(review in English below)
A Orquestra da Metropolitan Opera esteve ao mais alto nível mas, verdadeiramente sensacional, foi a direcção do maestro James Levine. Tempos e sonoridade perfeitos, primazia para os cantores, uma maravilha.
O tenor americano Matthew Polenzani foi um Ferrando irrepreensível. Voz sempre bem colocada, timbre belíssimo, potência assinalável e interpretação cénica de qualidade. Transmitiu uma expressividade vocal marcante.
Também o Guglielmo do barítono russo Rodion Pogossov (um desconhecido para mim) esteve à altura da personagem, que interpretou com muita qualidade vocal e boa presença em palco.
Isabel Leonard, mezzo “da casa”, foi uma Dorabella de boa presença cénica e voz bonita e afinada ao longo de toda a récita. Teve como ponto mais alto a ária È amore un ladroncello, no 2º acto.
*****
Cosi fan tutte, Metropolitan Opera, New York, April 2014
Cosi fan tutte is my favorite Mozart 's opera with libretto by Lorenzo da Ponte. I saw it recently on a day of diluvian rain inNew York
The staging, magnificent, is by Lesley Koenig. The whole scenery is of great visual impact, but the first part is fabulous. We see in the background, in the shadows , two boats, which look like a painting. But it is not, we see the people enter in them and one then moves away. The lights (by Duane Schuler) are very effective, creating different atmospheres along the performance. Of the best I have seen. The rest of the scenery is also beautiful, but but the first part is unique.
The Orchestra of the Metropolitan Opera was at the highest level but, truly sensational, was the direction of conductor James Levine. Tempi and perfect sound, primacy for the singers, wonderful.
The soloists were very uniform and excellent.
American tenor Matthew Polenzani was a faultless Ferrando. His voice was powerful and with a beautiful timbre.Also a remarkable stage interpretation.
Also Russian baritone Rodion Pogossov (unknown to me) was a good Guglielmo, who sang with great quality and good stage presence.
Veteran Italian bass baritone Maurizio Muraro was a great Don Alfonso, very correct on stage and showing a strong and refined voice.
Isabel Leonard , mezzo from the " house " , composed Dorabella with good stage presence and beautiful and refined singing throughout the performance. She had the highest moment in the aria È amore un ladroncello in the 2nd act .
Australian soprano Danielle de Niese was an excellent Despina, both in comedy and in vocal performance. She showed great artistic versatilitys, evident when he playied the doctor and the notary characters. She was always very lively, comic and cheerful.
Finally another fantastic interpretation was by young American sopranoSusanna Philips who was Fiordiligi. The singer was always very expressive (as recently seen in the excellent Musetta in La Bohème a few weeks ago) and the voice is also magnificent. The timbre is very beautiful, the voice was always above the orchestra, keeping qualitative uniformity in all registers . In dramatic aria from Act 1 Come scoglio she gave us an acrobatic interpretation and almost playful, as it is desirable, contrasting with the more humain and genuine regret in the long aria Per pieta in the 2nd act, which was remarkable. Excellent!
One of those few (unfortunately) performances that I will not forget quickly.
Cosi fan tutte is my favorite Mozart 's opera with libretto by Lorenzo da Ponte. I saw it recently on a day of diluvian rain in
The staging, magnificent, is by Lesley Koenig. The whole scenery is of great visual impact, but the first part is fabulous. We see in the background, in the shadows , two boats, which look like a painting. But it is not, we see the people enter in them and one then moves away. The lights (by Duane Schuler) are very effective, creating different atmospheres along the performance. Of the best I have seen. The rest of the scenery is also beautiful, but but the first part is unique.
The Orchestra of the Metropolitan Opera was at the highest level but, truly sensational, was the direction of conductor James Levine. Tempi and perfect sound, primacy for the singers, wonderful.
The soloists were very uniform and excellent.
American tenor Matthew Polenzani was a faultless Ferrando. His voice was powerful and with a beautiful timbre.Also a remarkable stage interpretation.
Also Russian baritone Rodion Pogossov (unknown to me) was a good Guglielmo, who sang with great quality and good stage presence.
Veteran Italian bass baritone Maurizio Muraro was a great Don Alfonso, very correct on stage and showing a strong and refined voice.
Isabel Leonard , mezzo from the " house " , composed Dorabella with good stage presence and beautiful and refined singing throughout the performance. She had the highest moment in the aria È amore un ladroncello in the 2nd act .
Australian soprano Danielle de Niese was an excellent Despina, both in comedy and in vocal performance. She showed great artistic versatilitys, evident when he playied the doctor and the notary characters. She was always very lively, comic and cheerful.
Finally another fantastic interpretation was by young American sopranoSusanna Philips who was Fiordiligi. The singer was always very expressive (as recently seen in the excellent Musetta in La Bohème a few weeks ago) and the voice is also magnificent. The timbre is very beautiful, the voice was always above the orchestra, keeping qualitative uniformity in all registers . In dramatic aria from Act 1 Come scoglio she gave us an acrobatic interpretation and almost playful, as it is desirable, contrasting with the more humain and genuine regret in the long aria Per pieta in the 2nd act, which was remarkable. Excellent!
One of those few (unfortunately) performances that I will not forget quickly.
Fanático Um
Fonte: http://fanaticosdaopera.blogspot.com.br/
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