January 19, 2013: Macbeth in Genova

2013-01-19 Macbeth (Verdi), Teatro Carlo Felice, Genova

Macbeth = George Gagnidze

Lady Macbeth = Maria Guleghina

Macduff = Rubens Pelizzari 

Banco = Roberto Scandiuzzi

Malcolm = Vincenzo Costanzo

Dama di Lady Macbeth = Sara Cappellini Maggiore

Medico = Francesco Verna

Domestico di Macbeth = Francesco Sorichetti

Un Sicario = Alessandro Pastorino

Un Araldo = Alessio Bianchini

Andrea Battistoni, conductor

Regia - Henning Brockhaus

Scene - Josef Svoboda

Ricostruzione allestimento scenico - Benito Leonori

Costumi - Nanà Cecchi

Allestimento in coproduzione con:

Fondazione Teatro Lirico G. Verdi di Trieste

Fondazione Pergolesi Spontini di Jesi

Maria Guleghina was the reason I had come to Genova to see Verdi's Macbeth. She was wonderful. This was a dark vision of Macbeth and his lady. Not much reason to like this two persons. In the scene of the prophecies Macbeth almost beheads Banco before he returns to reason. Lady Macbeth is one of the witches. This production is the only one that I have seen that is really successfull with the witches. This production is thoroughly thought out. Video projection is used but one never think "ah, video" it is integrated in the theatrical forms. Video is used as partt of the scenography and part of the regie. Rubens Pellizario was wonderful as Macduff. As part of this dark vision Macduff almost crowns himself but then cries of VITTORIA and Malcolm is crowned. 

O
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For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

June 10, 2015: Simon Boccanegra in Hamburg

2015-06-10 Simon Boccanegra (Verdi), Hamburgische Staatsoper

Simon Boccanegra = George Gagnidze
Maria Boccanegra (Amelia) = Barbara Frittoli
Jacopo Fiesco = John Tomlinson
Gabriele Adorno = Giuseppe Filianoti
Paolo Albiani = Robert Bork
Pietro = Alin Anca
Un Capitano dei Balestrieri = Daniel Todd
Un' Ancella di Amelia = Anat Edri

Simone Young, conductor
Philharmoniker Hamburg
Chor der Hamburgischen Staatsoper

INSZENIERUNG: Claus Guth
BÜHNENBILD UND KOSTÜME: Christian Schmidt
LICHT: Wolfgang Göbbel

CHOR: Florian Csizmadia 

How are we supposed to understand this opera in this production? Modern costumes but it is not an update really. The people are not modern. We are in Genua at the time of Boccanegra. At the prelude is Simon Boccanegra dead by poison surrounded by his daughter and her husband Gabriele Adorno. And the we go back in time to the Prologue where Simone will become Doge and his Maria is dead...

It is a hard role to play Simon Boccanegra. This time even harder since the director wants us to see it as though Simon is just reliving it with a double playing his part. The double do most of his acting in the room that we are to think is the mirror. In the end the second Boccanegra double is needed too. The singer has to react as though the other person is there in his mind, while the double is the one acting with the other singers. There is an opening in the ceiling for the comet to come clashing down. First we have a whole (prologue), then we the stone in the whole, then half to the floor and in the scene where Boccanegra dies, the stone is on the floor (disaster has struck).

In all the other versions of this opera, Maria Fiesco is in her father's palace, she is sick and in the end dying. Here she is a mother desperate for her child but her father caring is suffocating for her so she escapes her prison by suicide just before her lover coulf rescue her. Fiesco is not a benevolent father here, he is seriously misguided in his "love". Maria, the ghost, lives on. She is on stage, too.

Interaction in this production is often more symbolic than realistic. But all the singers and acters do well. John Tomlinson was Fiesco using his own age also as acting and singing well. George Gagnidze was amazing as Boccanegra. Barbara Frittoli was a great Amelia. Giuseppe Filanoti was a wonderful Gabriele Adorno. And so on.

Simone Young conducted.


Bravi, tutti!

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For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

April 17, 2011: Pagliacci in Barcelona

2011-04-17 Pagliacci (Leoncavallo),Gran Teatre de Liceu (Barcelona)

Canio (Pagliaccio) = José Cura
Nedda (Colombina) = Inva Mula
Tonio (Taddeo) = George Gagnidze
Beppe (Arlecchino) = David Alegret
Silvio = Jean Luc Ballestra
Erster Bauer = Xavier Comorera
Zweiter Bauer = Joan Prados

Daniele Callegari, conductor

Stage director - Liliana Cavani
Set designer - Dante Ferretti
Costume designer - Gabriella Pescucci
Light designer - Gianni Mantovanini
Coproduction -Teatro Comunale di Bologna / Teatro Vincenzo Bellini di Catania

Pagliacci - perfect production. I loved how the audience as the play grew more violent would take their children away protect them from the violence. I loved that. Inva Mula was Nedda and José Cura was Canio. Canio seemed less violent and more loving to his wife, Nedda was almost sympathetic. José Cura was a wonderful Canio and sang a marvellous Vesti la giubba. I loved it all.

Barcelona, the better experience (original blog post)

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For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

April 17, 2011: Cavalleria Rusticana in Barcelona

2011-04-17 Cavalleria Rusticana (Mascagni),Gran Teatre de Liceu (Barcelona)

Santuzza = Luciana d'Intino
Turiddu = José Cura
Alfio = George Gagnidze
Mamma Lucia = Josephine Barstow
Lola = Ginger Costa-Jackson

Daniele Callegari, conductor

Stage director - Liliana Cavani
Set designer - Dante Ferretti
Costume designer - Gabriella Pescucci
Light designer - Gianni Mantovanini
Coproduction -Teatro Comunale di Bologna / Teatro Vincenzo Bellini di Catania


Luciana D'Intino did not overplay the role of Santuzza. The only thing I did not like was her "A te, un mala Pasqua", but that is minor. She was perfect as Santuzza. Josephine Barstow gave e refine portrayal of Mamma Lucia. José Cura was a wonderful Turriddu, no drunkenn lout this time but certainly not a intirely sympathetic man. Alfio and Lola was also good. In this production of Cavalleria Rusticana there was an emphasis on that this is a village where nothing is secret for a long time. The villagers sees everything, hears everything behind their curtains. Somebody is always listening. Lola was dressed in white as she went to church. She did not go alone, another woman was with her all dressed in black. The duet between Turriddu and Santuzza showed that Turriddu still have some love for Santuzza. He was not so violent as in most productions. In the end of Cavalleria Rusticana was the ugliest cry of "Hanno mazzato compare Turriddu" which was a shame and a blemish on an otherwise wonderful and sweet production of Cavalleria Rusticana.




Barcelona, the better experience (original blog post)
OD Travel


For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com