#Àlex Ollé

[joaquimblog]

LICEU 2021/2022: NORMA (YONCHEVA-IERVOLINO-HERNÁNDEZ-MIMICA-OLLÉ-HINDOYAN)

NORMA_ROH, Norma; Sonya Yoncheva, Fotografia ©Bill Cooper Ahir vaig tornar al Liceu després del sotrac de dimarts del que encara no m’he pogut recuperar del tot, gràcies a la majoria de crítiques oficials aparegudes als mitjans que semblen d’una representació diferent de la que vaig viure i patir, per assistir a una altra representació de l’òpera de Bellini, amb el mateix repartiment, però amb…

[loosealcina]

ITALO MONTEMEZZI'S L'AMORE DEI TRE RE AT LA SCALA, NOVEMBER 12, 2023

If you ask a music enthusiast: 1913?—there’s more than a good chance he/she’ll answer: Le Sacre du printemps. (Maybe some peculiar individual will go with: Olivier Messiaen turns five—but that would be a big outlier we’re just allowed to ignore). You can also start a conversation from there, packed with fascinating characters and items: a bunch of angry people in the audience, Vaslav Nijinsky in the wings, a rough array of odd meters/irregular beats, a (possibly made-up) cab ride to the Bois de Boulogne after the show… Yet La Scala is currently spreading the news that another answer is possible. You might have guessed by now: 1913 can stand for L’amore dei tre re, as well. I’ll provide you with the storyline first. In the middle of an occupied land, a castle is both home and prison to Fiora; she was forced to marry one of the conquerors (Manfredo [who seriously worships her, no less]), but she’s secretly seeing her former lover (Avito). Given Manfredo is often out and about fighting his enemies, his elderly father—a blind baron named Archibaldo—decides to morph into a bizarre figure, part guardian of public morals, part outright jailer (plus ardent torturer, and more). I think I can give my own private finale away at this point: as all the lights were turned on and I headed for my humble abode, I was feeling a little hesitant and confused, but essentially underwhelmed. It was obviously thrilling—and, to some extent, rewarding in itself—to make the acquaintance of L’amore dei tre re in the flesh.

(It should be noted that this title comes with a pretty unique, elusive aura. After a Milanese début, its glory days—in fact, its several glory decades—did involve [quite interestingly] the States, and a number of genuine superstars: Arturo Toscanini, Victor De Sabata, Enrico Caruso… Then, some kind of vanishing act seemed to be successfully carried out. In short: this is the first staging of L’amore dei tre re at La Scala since 1953). Yet, to me, the negative factor was hard to miss. I failed altogether to establish an emotional connection with the music I was listening to. Many scholars tend to mention Claude Debussy and Richard Wagner when they comment on this work, but I couldn’t perceive anything remotely reminiscent of those two operatic worlds. Furthermore, probably the worst bit: L’amore dei tre re didn’t appear to explore any significantly different/personal path, either. Apart from the circumstance that I wasn’t equipped with a proper heart (old story—I think you already know it), I put at least part of the blame on the performance. Pinchas Steinberg and the orchestra were extremely steady between forte and spirited. Spirited and forte. As for the production created by Àlex Ollé/La Fura dels Baus, it was the definition of plain, unadventurous illustration. Perhaps a certain restraint—as an example: the relative scarcity of old-school pseudo-medieval ornamentation—could be saluted as a highlight. But I’d say this revival as a whole is likely to be more an inhibitor than an encouragement as far as the curiosity about Italo Montemezzi’s best-known opera is concerned.

[area53uk]

Opera Chats: Norma (Royal Opera House, 2016)

#Opera Chats: #Norma (Royal Opera House, 2016) which has left us unconvinced.

Today’s topic of conversation is the Royal Opera House’s 2016 production of Norma by Vincenzo Bellini, libretto by Felice Romani. The production was directed by Àlex Ollé and conducted by Antonio Pappano. The opera first premiered in Milan in 1831. Norma takes place in Roman occupied Gaul. The Gallic people, led by the Druid Oroveso (Brindley Sherratt) are planning an uprising against their Roman…

[ulrichgebert]

Wie hältst du’s mit der Religion fragt Margherita (links) hier ihren neuen Bekannten Henrico, bei einer Disco-Veranstaltung (in Auerbachs Keller?). Faust-Opern (und Filme! Und Musicals!) kann man ja gar nicht genug haben. Mefistofele von Arrigo Boito erzählt einige etwas willkürlich ausgewählt wirkende Passagen aus dem Leben des hart arbeitenden bekannten dämonischen Geists, der stets verneint (rechts), der hier zu allem Überfluss von einem absurd bombastischen Engelschor schickaniert wird, beim Versuch, den vergleichweise abgeklärten Doktor zu verdammen. Es ist nicht die subtilste Fassung (und Àlex Ollés Inszenierung als Großspektakel tut das ihre dazu*), aber es gibt sogar noch ein bisschen Faust II (wenngleich auch stark verknappt): die schöne Elena, und es spielt nicht in Ungarn wie der Berlioz. 

           *doch ist sie allemal schlüssiger als Frank Castorfs Gounod.

Am Ende werden wir aber, wie so oft, wieder bei Ken Russell landen.

[verdiprati]

Looking ahead to Triz und Iz

Item 1: For anyone who’s interested, there’s an essay by the director Àlex Ollé on the Spanish Ópera Actual website where he discusses the production of Tristan und Isolde currently under rehearsal at the Gran Teatre del Liceu, created in 2011 for the Opéra de Lyon. Opening night at the Liceu will be November 28. The stars include Iréne Theorin, Stefan Vinke, Sarah Connolly, Albert Dohmen, and Greer Grimsley.

Item 2: Tristan und Isolde is scheduled for live radio broadcast by Catalunya Música from the Liceu on the evening of December 7, starting at 7:00 p.m. local time. If you want to catch it, mark your calendar! I don’t think it will be available on demand after the live broadcast (though I’m not positive).

[genevieveetguy]

A thief's daughter (La hija de un ladrón), Belén Funes (2019)

[tenaflyviper]

Hispanic and Latin- American Horror Films:

I wish I could have finished this list for Hispanic Heritage Month, but at least I could still get it done for October.

Sadly, this year marks the passing of beloved Brazilian horror icon José Mojica Marins (aka Zé do Caixão, or "Coffin Joe").

So, I hereby dedicate this list to his memory.

Please note: Permanent link availability is NOT GUARANTEED.  I wish I could have had more links to offer, but I’ve tried to rely only on free streaming sites (and Youtube, for short films). Tubi TV requires signing up, but it is still 100% free (and it’s also available as an app on IOS, Android, Xbox Live and the Playstation Network).  I will do my best to update links when there are changes.

Part 2

Part 3

Spanish Horror:

11-11-11 (2011) - Darren Lynn Bousman (Spanish production)

28 Weeks Later (2007) - Juan Carlos Fresnadillo

The Abandoned (2006) - Nacho Cerdà

Acción mutante (1993) - Álex de la Iglesia

Aftermath (1994) - Nacho Cerdà (CONTENT WARNING: Necrophilia)

The Ancines Woods (1970) - Pedro Olea

Ataúdes de luz (2002) - Nacho Cerdà

Anguish (1987) - Bigas Luna

Apartment 143 (2011) - Carless Torrens

The Appeared (2007) - Paco Cabezas

Arachnid (2001) - Jack Shoulder (Spanish production)

Arrebato (1979) - Iván Zulueta

The Art of Dying (2000) - Álvaro Fernández Armero

Atrocious (2010) - Fernando Barreda Luna

Atrocious (2015) - Lex Ortega

The Awful Dr. Orloff (1962) - Jesús Franco

The Baby's Room (2006) - Álex de la Iglesia

The Beast and the Magic Sword (1983) - Paul Naschy (Jacinto Molina Alverez)

The Beasts' Carnival (1980) - Paul Naschy (Jacinto Molina Alverez)

The Bell from Hell (1973) - Claudio Guerín; Juan Antonio Bardem 

Beneath Still Waters (2005) - Brian Yuzna (Spanish production)

The Blancheville Monster (1963) - Alberto De Martino

Blind Alley (2011) - Antonio Trashorras

The Blood Spattered Bride (1972) - Vicente Aranda

The Bloody Judge (1970) - Jesús Franco

Bloody Moon (1981) Jesús Franco

Blue Eyes of the Broken Doll (1974) - Carlos Aured

Cannibal (2013) - Manuel Martín Cuenca

The Cannibal Man (1972) - Eloy de la Iglesia

Un Chien Andalou (1929) - Luis Buñuel (CONTENT WARNING: EYE GORE)

Childish Games (2012) - Antonio Chavarrías

Cold Skin (2017) - Xavier Gens

The Corpse of Anna Fritz (2015) - Hèctor Hernández Vicens (CONTENT WARNING: Necrophilia; r*pe)

The Corruption of Chris Miller (1973) - Juan Antonio Bardem

Cosmética Terror (2017) - Fernando Simarro

Count Dracula’s Great Love (1974) - Javier Aguirre

The Crimes of Petiot (1973) - José Luis Madrid

La cruz del diablo (1975) - John Gilling (Spanish production)

Cthulhu Mansion (1990) - Juan Piquer Simón

La ciudad maldita (1978) - Juan Bosch

Dagon (2001) - Stuart Gordon (Spanish production)

Darker Than Night (2014) - Henry Bedwell

Darkness (2002) - Jaume Balagueró

The Day of the Beast (1995) - Álex de la Iglesia

Deadly Manor (1990) - José Ramón Larraz

Decapoda Shock (2011) (short film) - Javier Chillon

Demon Witch Child (1975) - Amando de Ossorio

Devil Hunter (1980) - Jesús Franco

The Devil's Backbone (2001) - Guillermo del Toro

The Diabolical Dr. Z (1965) - Jesús Franco

Down a Dark Hall (2018) - Rodrigo Cortés

Dr. Jekyll y el Hombre Lobo (1972) - León Klimovsky

Dracula 3D (2012) - Dario Argento (partial Spanish production)

Edge of the Axe (1988) - José Ramón Larraz

Empuso (2010) - Paul Naschy (Jacinto Molina Alverez)

Escóndete (2013) - Roque Madrid

Eskalofrío (2008) - Isidro Ortiz

Evolution (2015) - Lucile Hadzihalilovic (partial Spanish production)

Exorcismus (2010) - Manuel Carballo

Extinction (2015) - Miguel Ángel Vivas

Faceless (1987) - Jesús Franco

Fangs of the Living Dead (1969) - Amando de Ossorio

Faust: Love of the Damned (2000) - Brian Yuzna (Spanish production)

Fausto 5.0 (2001) - Àlex Ollé

Fist of Jesus (2012) - Adrián Cardona; David Muñoz

Fragile (2005) - Jaume Balagueró

From Dusk Till Dawn (1996) - Robert Rodriguez

The Fury of the Wolfman (1970) - José María Zabalza

The Ghost Galleon (1974) - Amando de Ossorio

The Glass Ceiling (1971) - Eloy de la Iglesia

H6: Diary of a Serial Killer (2006) - Martín Garrido Barón

Hannah, Queen of the Vampires (1973) - Julio Salvador 

Hatchet for the Honeymoon (1970) - Mario Bava (Spanish co-production)

The Haunting (2009) - Elio Quiroga

Hell of the Living Dead (1980) - Bruno Mattei (Spanish co-production)

Hooked Up (2013) - Pablo Larcuen

Horror en el museo de cera (1990) - Paul Naschy (Jacinto Molina Alverez)

Horror Express (1972) - Eugenio Martín

Horror Rises from the Tomb (1972) - Carlos Aured

The House That Screamed (1969) - Narciso Ibáñez Serrador

Howl of the Devil (1988) - Paul Naschy (Jacinto Molina Alverez)

Imago Mortis (2009) - Stefano Bessoni

In a Glass Cage (1986) - Agustí Villaronga (CONTENT WARNING: Just... All of it)

The Influence (2019) - Denis Rovira van Boekholt

Inquisición (1977) - Paul Naschy (Jacinto Molina Alverez)

Intruders (2011) - Juan Carlos Fresnadillo

Julia’s Eyes (2010) - Guillem Morales

Kidnapped (2010) - Miguel Ángel

Land of the Dead (2005) - George A. Romero (partial Spanish production)

The Last Circus (2010) - Álex de la Iglesia

Léonor (1975) - Juan Luis Buñuel (partial Spanish production)

Let Sleeping Corpses Lie (1974) - Jorge Grau (Spanish co-production)

Leviatán: El Juego De La Muerte (2018) - Oscar López

Licántropo (1996) - Francisco Rodríguez Gordillo

Lisa and the Devil (1974) - Mario Bava (partial Spanish production)

Lobos de Arga (2012) - Juan Martínez Moreno

The Loreley's Grasp (1973) - Amando de Ossorio

La Maldicion de la Bestia (1975) - Miguel Iglesias Bonns

Megamuerte (2014) - J. Oskura Nájera

Malenka (1969) - Amando de Ossorio

Mama (2013) - Andy Muschietti

Maneater of Hydra (1967) - Mel Welles (Spanish co-production)

Mansion of the Living Dead (1982) - Jesús Franco

The Mark of the Wolfman (1968) - Enrique López Eguiluz

Marrowbone (2017) - Sergio G. Sánchez

Mientras duermes (2011) - Jaume Balagueró

Mondo Cannibale (1980) - Jesús Franco

Monster Dog (1986) - Claudio Fragasso

Los Monstruos del Terror (1970) - Tulio Demicheli, Hugo Fregonese and Eberhard Meichsner (partial Spanish production)

Muñecas Rotas (2018) - Oscar López

Murder in a Blue World (1973) - Eloy de la Iglesia

Muse (2017) - Jaume Balagueró

The Nameless (1999) - Jaume Balagueró

Nightmare City (1980) - Umberto Lenzi (partial Spanish production)

The Night of the Devils (1972) - Giorgio Ferroni (Spanish co-production)

Night of the Rat (2015) - David R. Losada

Night of the Seagulls (1975) - Amando de Ossorio

The Night of the Sorcerers (1974) - Amando de Ossorio

The Night of the Virgin (2016) - Roberto San Sebastián

Night of the Werewolf (1981) - Paul Naschy (Jacinto Molina Alverez)

La Noche de Walpurgis (1970) - León Klimovsky

Las Noches del Hombre Lobo (1968) - René Govar

The Nun (2005) - Luis de la Madrid

Oasis of the Zombies (1982) - Jesús Franco

Omnivores (2013) - Óscar Rojo

Open Graves (2009) - Álvaro de Armiñán

Open Your Eyes (1997) - Alejandro Amenábar

The Orphanage (2007) - J.A. Bayona

The Others (2001) - Alejandro Amenábar

Painless (2012) - Juan Carlos Medina (partial Spanish/Portugese production)

Pan's Labyrinth (2006) - Guillermo del Toro

Panic (1982) - Tonino Ricci (Spanish co-production)

Panic Beats (1983) - Paul Naschy (Jacinto Molina Alverez)

Paranormal Xperience 3D (2011) - Sergi Vizcaino

Pieces (1982) - Juan Piquer Simón

Planet Terror (2007) - Robert Rodriguez (Mexican co-production)

The Platform (2019) - Galder Gaztelu-Urrutia

Presence of Mind (1999) - Antoni Aloy (Spanish co-production)

Pyro… The Thing Without a Face (1964) - Julio Coll; Luis García

[REC] (2007) - Jaume Balagueró

[REC] 2 (2009) - Jaume Balagueró

[REC] 3: Genesis (2012) - Paco Plaza

[REC] 4: Apocalypse (2014) - Jaume Balagueró

Red Lights (2012) - Rodrigo Cortés (Spanish co-production)

Red Summer (2017) - Carles Jofre

El Retorno de Walpurgis (1973) - Carlos Aured (Spanish/Mexican co-production)

The Returned (2013) - Manuel Carballo (partial Spanish production)

Return of the Evil Dead (1973) - Amando de Ossorio

Revenge in the House of Usher (1983) - Jesús Franco

Romasanta (2004) - Paco Plaza

Rottweiler (2004) - Brian Yuzna (Spanish production)

The Sadist of Notre Dame (1979) - Jesús Franco

Sadomania (1981) - Jesús Franco (Spanish co-production)

Die Schneider Krankheit (2008) - Javier Chillon (Spanish co-production)

Scream of the Demon Lover (1970) - José Luis Merino (Spanish co-production)

The Sea Serpent (1985) - Amando de Ossorio

Seven Murders for Scotland Yard (1971) - José Luis Madrid (Spanish co-production)  

Sexykiller (2008) - Miguel Martí 

The Shallows (2016) - Jaume Collet-Serra

She Killed in Ecstasy (1971) - Jesús Franco (Spanish co-production)

The Skin I Live In (2011) - Pedro Almodóvar

The Sky Is Falling (1979) - Silvio Narizzano

Sleep Tight (2011) - Jaume Balagueró

Slugs (1988) - Juan Piquer Simón

Sound of Horror (1966) - José Antonio Nieves Conde

The Spanish Chainsaw Massacre (2017) - Manolito Motosierra

Summer Camp (2015) - Alberto Marini (Spanish co-production)

Superstición (2014) - Esteban Calderín

Terror in the Crypt (1964) - Camillo Mastrocinque (Spanish co-production)

Tesis (1996) - Alejandro Amenábar

They Will All Die in Space (2015) (short film) - Javier Chillon

The Traveller (1979) - Paul Naschy (Jacinto Molina Alverez)

To Let (2006) - Jaume Balagueró

Tombs of the Blind Dead (1972) - Amando de Ossorio

The Tower of the Seven Hunchbacks (1944) - Edgar Neville

Tuno negro (2001) - Pedro L. Barbero and Vicente J. Martín

The Vampires Night Orgy (1972) - León Klimovsky

Vampyros Lesbos (1971) - Jesús Franco (Spanish co-production)

Vengeance of the Zombies (1973) - León Klimovsky

Verónica (2017) - Paco Plaza

A Virgin Among the Living Dead (1973) - Jesús Franco

Who Can Kill a Child? (1976) - Narciso Ibáñez Serrador

The Witch Affair (2003) - José Miguel Juárez

Witching and Bitching (2013) - Álex de la Iglesia

Zombie Lake (1981) - Jean Rollin and Julian de Laserna (Spanish co-production)

Mexican Horror:

24 Frames of Terror (2008) - Cristian González

El alimento del miedo (1994) - Juan López Moctezuma

Alucarda, Daughter of Darkness (1975) Juan López Moctezuma

The Bermuda Triangle (1978)

Black Circle (2018) - Adrián García Bogliano (Mexican co-production)

Blacker than the Night (1974) - Carlos Enrique Taboada

The Black Pit of Dr. M (1958) - Fernando Méndez

The Body Snatcher (1956) - Fernando Mendez

The Book of Stone (1969) - Carlos Enrique Taboada

The Brainiac (1961) - Chano Urueta

Cemetery of Terror (1985) - Rubén Galindo Jr.

Crimson Peak (2015) - Guillermo del Toro (partial Mexican production)

Cronos (1993) - Guillermo del Toro

Curse of the Crying Woman (1961) - Rafael Baledón

Curse of the Doll People (1963) - Benito Alazraki

Don’t Panic (1987) - Rubén Galindo Jr.

The Door (1968) - Luis Alcoriza

The Exterminating Angel (1962) - Luis Buñuel

El extraño hijo del sheriff (1982)

The Ghost of the Convent (1934) - Fernando de Fuentes

Hasta el viento tiene miedo (Even the Wind is Afraid) (1968) - Carlos Enrique Taboada

Here Comes the Devil (2012) - Adrián García Bogliano

The Invasion of the Vampires (1963) - Miguel Morayta

Kilómetro 31 (2006) - Rigoberto Castañeda

La Llorona (1991) - Cesar Miguel Rondon

The Mansión of Madness / Dr. Tarr’s Torture Dungeon (1972) - Juan López Moctezuma

The Man Without a Face (1950) - Juan Bustillo Oro

Mary, Mary, Bloody Mary (1974) - Juan López Moctezuma

México Bárbaro (2014) - Aarón Soto, Lex Ortega, Isaac Ezban, Laurette Flores and Jorge Michel Grau

México Bárbaro II (2017) - Christian Cueva, Ricardo Farias, Carlos Meléndez, Abraham Sánchez, Michelle Garza

Mystery of the Pale Face (1935) - Juan Bustillo Oro

Night of 1,000 Cats (1972) - René Cardona Jr.

Night of the Bloody Apes (1969) - René Cardona

Poison for the Fairies (1984) Carlos Enrique Taboada

Quiere Jugar (2020) - Adrián García Bogliano

The Revived Monster (1953) - Chano Urueta

Santa Sangre (1989) - Alejandro Jodorowsky

Satánico Pandemonium (1975) - Gilberto Martínez Solares

Scherzo Diabolico (2015) - Adrián García Bogliano

La segua (1985) - Antonio Yglesias

The Similars (2015) - Isaac Ezban

La tía Alejandra (1978) - Arturo Ripstein

Two Monks (1934) - Juan Bustillo Oro

The Vampire (1957) - Fernando Méndez

The Vampire’s Coffin (1957) - Fernando Méndez

La Verdadera Historia De La Llorona (2006) - Aurora Martinez

We Are the Flesh (2016) - Emiliano Rocha Minter (Mexican co-production)

We Are What We Are (2010) - Jorge Michel Grau

The Witch (1954) - Chano Urueta

The Witch’s Mirror (1961) - Chano Urueta

World of the Vampires (1961) - Alfonso Corona Blake

[claraserranoblog-blog]

“Witchcraft”

Videoassaig realitzat conjuntament amb Àlex Serra, Marina Serra, Pili Ollés, Elena Rivera, Marina Ocaña i Marta Radó sobre la representació de la figura de la bruixa en el cinema.

[digitalandy]

Madama Butterfly, Donato Renzetti, Alex Olle, Teatro dall'opera di Roma, Circo Massimo

Sempre suggestive questa bellissima location estiva per l'opera di Roma. Il rumore delle auto sulla strada laterale si dimentica di fronte alla bellezza dei Fori e dei pini che costeggiano il Circo Massimo.

Notevole la dimensione del palco che permette delle messe in opera molto spettacolari e riduce la classica distinzione tra preparazione della scena e performance. Tutto infatti avviene di fronte al pubblico, dai cambi di scena alla messa a punto della scenografia. Elemento questo sottolineato dal figurante, travestito da operaio edile, che fa misurazioni sul palco prima dell'inizio.

E la costruzione è il motivo trainante di questa messa in scena moderna. I palazzi rappresentano un elemento importante della scenografia.

Meno impattante il primo atto dove la scena si svolge ai bordi di un bosco.

Bello il secondo atto con una bellissima scenografia che sottolinea il dramma attraverso un bel gioco di luci e il grande schermo sullo sfondo dove si costruiscono e si illuminano gli alti palazzi che contrastano con la piccola abitazione di Madama Butterfly. Una chicca il taxi elettrico che attraversa la scena sottolineando questa unicità della dimensione del palco.

Interessante il modo di rappresentare il suicidio che non avviene di fronte al pubblico ma è simboleggiano sul grande schermo che si tinge di rosso.

Bravi i cantanti e puntuale la direzione.

Madama Butterfly

Music Giacomo Puccini

 

Japanese Tragedy in three acts

Libretto by Luigi Illica and Giuseppe Giacosa

after John Luther Long and David Belasco

 

First performed

Milano, Teatro alla Scala, 17 February 1904

Length: about 3 h with 1 intermission

CONDUCTOR

 Donato Renzetti

DIRECTOR

 Àlex Ollé (La Fura dels Baus)

DIRECTOR COWORKER Susana Gómez

CHORUS MASTER Roberto Gabbiani

SET DESIGNER Alfons Flores

COSTUME DESIGNER Lluc Castells

LIGHTING DESIGNER Marco Filibeck

VIDEO Franc Aleu

CAST

MADAMA BUTTERFLY (CIO-CIO-SAN) Corinne Winters

SUZUKI Adriana Di Paola

KATE PINKERTON Sharon Celani *

B. F. PINKERTON Saimir Pirgu /Angelo Villari 31 July, 6 August

SHARPLESS Andrzej Filończyk

GORO Pietro Picone

PRINCE YAMADORI Raffaelen Feo

THE BONZE Luciano Leoni

THE COMMISSIONER Arturo Espinosa *

THE COUSIN Marika Spadafino / Claudia Farneti 20, 31 July

THE REGISTRY OFFICIER Francesco Luccioni / Daniele Massimi 20, 31 July

*After the project “FABBRICA” YOUNG ARTIST PROGRAM of the Teatro dell’Opera di Roma

Teatro dell’Opera di Roma Orchestra and Chorus

A Teatro dell’Opera di Roma Production in collaboration with Opera Australia / Sydney Opera House

sung in italian with italian and english surtitles

[mamusiq]

Norma – Casta Diva

Sonya Yoncheva  - The Royal Opera 

Bellini’s bel canto masterpiece Norma had its premiere at La Scala, Milan, on Boxing Day 1831. After a muted initial response the opera quickly became popular, and is now a mainstay of the repertory. Norma is perhaps most acclaimed as a vehicle for the lead soprano, most famously now by such 20th-century greats as Maria Callas, Montserrat Caballé and Joan Sutherland. Indeed, Bellini provides some astonishing vocal fireworks for his title character – most famously ‘Casta diva’, Norma’s Act I hymn to the chaste moon, and Act II’s ‘Dormono entrambi’, as she contemplates the unthinkable act of killing her children. But the opera’s dramatic potency rests in its breathtaking ensembles, most strikingly in Norma’s duets with Pollione and Adalgisa, the Act I trio ‘Vanne, sì: mi lascia, indegno’ and the blistering Act II finale.

This new production of Norma was The Royal Opera’s first in nearly thirty years. Directing is Àlex Ollé, of the Catalan collective La Fura dels Baus, reunited with the creative team behind his acclaimed production of Oedipe. They give Norma a contemporary setting against a backdrop of a cruel civil war, and focus on the opera’s exploration of the conflict between an individual’s own desires and those of her society – and of religion as a force for unity and for destruction.

Why all great sopranos are drawn to Bellini's Norma

The Royal Opera

♫ ♪♫  https://mamusiq.tumblr.com/archive   ♫ ♪♫

[joaquimblog]

LICEU 2021/2022: NORMA (MATHÉU-IERVOLINO-HERNÁNDEZ-MIMICA;OLLÉ-HINDOYAN)

Marta Mathéu i Airam Hernández. Foto gentilesa del Departament de Premsa del Gran Teatre del Liceu Avui no us podré dir tot el que penso del que vaig viure a la segona funció de Norma d’aquesta temporada al Liceu, bàsicament no diré tot el que vaig sentir i patir, però espero que tothom ho entendrà perquè ho faig. A mi m’agradaria treure’m de sobre aquesta fama injusta de destroyer que molts…

[persinsala]

Aida

Il 95esimo Opera Festival dell’Arena di Verona ripropone l’Aida del visionario duo catalano La Fura dels Baus che aprì l’edizione del centenario del 2013. Un impianto macchinale che accoglie un pullulare di piccole vite in una versione convincente ed affascinante

(more…)

[verdiprati]

Upcoming performances by Dame Sarah Connolly

[NOTE: this post is now out of date. Check the schedule tag on my blog for the most recent version of this list.]

After the jump: an unofficial schedule of Dame Sarah Connolly’s future performances. Those of you in Britain may catch a performance in London, Nottingham, or Lewes. Those on the Continent may see her in Vienna, Brussels, Barcelona, or Rotterdam. Plus, Dame Sarah’s agency has mentioned future performances in Paris, Madrid, and New York, though no details are available yet. Don’t live near one of these places? Take in a concert from afar: I am adding online broadcast and livestream details as they become available.

This is not an authoritative list. These are the upcoming performances by Dame Sarah Connolly that I have been able to learn about from Dame Sarah's website (not currently being updated), her agent's website (Askonas Holt), Operabase, Bachtrack, Dame Sarah's Twitter, and generally ferreting around the web.

Some of these listings are not yet officially confirmed; you should of course check official sources before making plans and be aware that cast changes and cancellations can happen at any time.

I have added links to venue, ticketing, and broadcast information where available. Tips on new information are always welcome! Please contact me via email (verdiprati [at] selveamene [dot] com), Tumblr messaging, or ask box (plain prose only in the ask box; anything with links or an email address will get eaten by Tumblr filters) with corrections or additions.

[Deferred broadcast] Dame Sarah’s recital at Spivey Hall in March 2017 was recorded for deferred broadcast. I have found a schedule for the program “Spivey Soiree” indicating that Dame Sarah’s recital will be broadcast on October 31, 2017, at 10:05 p.m. local time on WABE in Atlanta. The document is not deep-linkable but you might be able to find it by going to the Audio-Video Club of Atlanta website and clicking on the button for “Spivey Soiree.” 

Wagner, Tristan und Isolde (Brangäne) at the Gran Teatre del Liceu, Barcelona, November 28 and December 2, 4, 7, 10, 12, and 15, 2017. With Stefan Vinke (Tristan), Iréne Theorin (Isolde), Albert Dohmen (Marke), Greer Grimsley (Kurwenal), et al., in a production directed by Àlex Ollé and previously seen in Lyon. Musical direction by Josep Pons. Note: within 24 hours before this writing, the Catalan parliament voted to declare independence from Spain and the Spanish parliament voted for the Spanish government to take control of Catalunya. It remains to be seen whether the political upheaval in the region will result in the disruption of activities at the Liceu, either directly through the shutdown of the theater (it is a public institution) or indirectly, such as if violence or instability in the region were to drive the international cast of Tristan to leave Barcelona.

[New! Broadcast] Tristan und Isolde is scheduled for (presumably live) radio broadcast on December 7. The broadcast is listed in this PDF schedule from the radio station and on the Liceu website; go to the main Catalunya Música website to hear the broadcast when it comes up (and if you have trouble hearing the audio stream, try a different web browser). I do not know yet whether the opera will be available on demand after broadcast.

Handel, Ariodante (title role) at the Wiener Staatsoper, February 24 and 26 and March 1, 4, and 8, 2018. With Chen Reiss (Ginevra), Hila Fahima (Dalinda), Christphe Dumaux (Polinesso), Rainer Trost (Lurcanio), and Wilhelm Schwinghammer (Il Re di Scozia). In a new production directed by David McVicar with music is supplied by Les Arts Florissants conducted by William Christie. Note: although Christie, LAF, and many of the soloists from this Ariodante will be performing the opera in a concert tour following its staging in Vienna, Dame Sarah is not scheduled to join them; Kate Lindsey has been announced to take over the title role for the tour.

[Livestream] The opera is scheduled for video livestreaming on Sunday, March 4. There is a fee of €14 to watch the livestream.

Mahler, Symphony No. 8 “Symphony of a Thousand” at de Doelen, Rotterdam, March 23 and 25, 2018. With the Rotterdam Philharmonic Orchestra conducted by Yannick Nézet-Séguin. The other soloists are Angela Meade, Erin Wall, Erin Morley, Mihoko Fujimura, Michael Schade, Markus Werba, and Christof Fischesser. On choral duty are the Groot Omroep Koor, Rotterdam Symphony Chorus, Orfeon Donostiarra, and Nationaal Kinderkoor. Tickets go on sale May 15.

Mahler, Symphony No. 8 “Symphony of a Thousand” at BOZAR Centre for Fine Arts, Brussels, March 24, 2018. With the Rotterdam Philharmonic Orchestra; same details as the Rotterdam performances listed above. Broadcast possibility: this concert is part of the 2018 Klarafestival sponsored by the Klara radio station, so it seems like a good candidate for broadcast.

[Masterclasses] Teaching duties for the Britten-Pears Young Artist Programme at Snape Maltings in Aldeburgh, England, March 23-April 1, 2018. A course on Handel’s Theodora to be co-taught with conductor Christian Curnyn. Although this doesn’t really count as a performance by Sarah Connolly, I am adding it to my “unofficial schedule” of her work with the thought that fans who live in the area might want to attend some of the public masterclasses Sarah Connolly will be teaching or the culminating performance by young artists she will have coached. (Note that the first weekend of this program clashes with the Mahler 8 concerts in Rotterdam and Brussels, above; it is possible the students will start out working with Christian Curnyn and will pick up with Sarah Connolly a few days into the program.)

[New!] Verdi, Requiem at the Royal Concert Hall in Nottingham, April 28, 2018. With Elizabeth Llewellyn, Gywn Hughes Jones, Wojtek Gierlach, and the London Philharmonic Orchestra. The chorus will be supplied by Nottingham Trent University, where Dame Sarah was awarded an honorary doctorate of music in July of 2017. (Booking info at the link above; news of the concert first surfaced in this announcement from NTU.)

Handel, Giulio Cesare (title role) at Glyndebourne, June 10 through July 28, 2018. In a revival of the legendary 2005 production by David McVicar, with the Orchestra of the Age of Enlightenment conducted by William Christie. With Joélle Harvey as Cleopatra, plus Christophe Dumaux and Patricia Bardon reprising the roles of Tolomeo and Cornelia respectively; also starring Anna Stéphany (Sesto), John Moore (Achilla), and Kangmin Justin Kim (Nireno).

Wagner, Das Rheingold and Die Walküre (Fricka in both) at the Royal Opera, London, September 24 through October 28, 2018. A revival of Keith Warner’s Ring Cycle, with Antonio Pappano conducting. For cast and date details, see the ROH web pages linked above.

[Details TBA] Future appearances at the Metropolitan Opera in New York, the Opéra national de Paris, and the Teatro Réal in Madrid are mentioned in the current bio that can be downloaded from Dame Sarah’s page on the Askonas Holt website (click “Publicity Pack”). Dame Sarah herself has made mention of a Philadelphia recital on Twitter, though she says it is “not for a while yet” and it is apparent that she is not at liberty to give any details yet.

Previous versions of this list can be found under the schedule tag on this blog. This version published on October 28, 2017. Edited October 30 to add the Philadelphia recital (details TBA). Edited November 6 to add a link to booking info for the Verdi Requiem in Nottingham. Edited November 10 to add the Liceu Tristan broadcast. I may continue editing this list if I receive more information.

[loosealcina]

LUCA FRANCESCONI’S QUARTETT AT LA SCALA, OCTOBER 19, 2019

«What now? Should we keep playing?» …Let me think for a moment… Luca Francesconi's Quartett had its world première at La Scala on April 26, 2011. I'm glad to inform you that a much younger manifestation of me was in the audience. (OK, not the very début—it must have been somewhere else in that two-week, six-performance run). You're now requested to hit the archive button, browse back as far as 2011, and check through my original report. I'm inserting a custom break for this specific purpose after the period, so there's no reason for you to wait any longer. (Brief pause). …and hi again. It was a comeback of the same staging here. Same cast (Allison Cook and Robin Adams as the Marquise de Merteuil and the Viscount de Valmont), just a different conductor (Maxime Pascal). I really believe I can stand by what I said then; a couple of minor footnotes will do. While Quartett was every bit as fun, sharp, and intriguing as I remembered it, I wouldn't call it moving. The core idea of the libretto—the inextricable link between libido and the recognition of one’s own mortality (the latter made me think of W.H. Auden's line: «The Devil in the clock»)—is exposed in a strikingly rational, even orthodox fashion.

The work as a whole feels like a carefully-crafted essay. That's an original quality for an opera; yet, one side effect of it may very well be the absence of genuine pathos. A second footnote has to concern the staging. Àlex Ollé's production of Quartett was the first Quartett ever. After that launch, six new productions of Quartett happened around the world. Six? Six. It's a big number, and I think it might suggest us (also) something about this pioneering effort. I'd say it (I mean Àlex Ollé's production of Quartett) makes for a smart, significant tribute to both Pierre-Ambroise-François Choderlos de Laclos and Heiner Müller. (It truly makes you feel like picking up Les Liaisons dangereuses as soon as possible, which does come across as an excellent outcome to me). It's packed with fancy attractions as well: the beautiful mid-air rectangular cuboid/spacecraft/whatever, the towering b/w video projections… At the same time, it refuses to take a step further. It chooses to remain neutral at heart. That's why somebody is likely to find themselves saying, hey, I want to stage this opera my way! Hence (maybe) the grand total of seven productions and counting.

[tinavandeput-blog]

Recensie opera Frankenstein

Andere recensie: 

Nieuwe opera ‘Frankenstein’ ontbeert een hartenklop

De nieuwe opera Frankenstein van componist Mark Grey, naar de roman van Mary Shelley, ging in première in een regie van sterregisseur Àlex Ollé. De opera is mooi vormgegeven, maar heeft te weinig dramatische spankracht.

De mysterieuze levensvonk: ironisch genoeg is dat precies wat ontbreekt in de nieuwe opera Frankenstein van componist Mark Grey. De twee-akter naar de gelijknamige roman van Mary Shelley ging vrijdag bij De Munt in Brussel in première in een regie van sterregisseur Àlex Ollé (La Fura dels Baus). Een spectaculair decor, in potentie intrigerende ethische en filosofische vraagstukken en enkele sterke muzikale passages vormen tezamen geen geheel en ontberen een hartenklop.

Het idee is veelbelovend. In 2816, precies een millennium nadat Shelley haar verhaal bedacht, treft wetenschapper Walton in het poolijs een ‘Schepsel’ aan. Met geavanceerde technologie wekken Walton en zijn team het Schepsel tot leven en verkrijgen toegang tot zijn geheugen. Het decor is indrukwekkend – een arena annex auditorium van ijs, met centraal een lichtgevende kolom. De manier waarop de herinneringen van het Schepsel inbreken in de toekomstige realiteit overtuigt. Het piemelnaakte Schepsel (tenor Topi Lehtipuu) zelf ook: half golem, half Star Trek.

Een waaier aan pregnante vragen en spiegelingen lijkt zich aan te dienen. Maar het uitbundig geresearchte libretto van Júlia Canosa i Serra mist dramatische spankracht. Dat begint al met het openingskoor, waarvoor ze een fragment uit Byrons Prometheus koos. Aardige parallel: het gedicht ontstond tegelijk met Shelley’s roman, die de ondertitel ‘A modern Prometheus’ draagt. Maar de cryptische tekst creëert direct afstand, waar je juist betrokken zou willen raken. De vlakke vocale toonzetting helpt ook niet.

Canosa i Serra stelde het libretto grotendeels samen met flarden uit Shelley’s roman, als een spreekwoordelijk monster van Frankenstein. Maar Shelley’s beschrijvende, omtrekkende stijl leent zich slecht voor het aanzwengelen van de handeling. Bovendien zit de eerste akte propvol onduidelijk opgediend plot, hoe mooi Ollé en zijn team alles ook hebben vormgegeven. De vertelconstructie via de herinneringen van het Schepsel, op filmbeelden én op het podium, en de vele nauwelijks geïntroduceerde personages (die er met hun kale koppen allemaal identiek uitzien) zorgen voor verwarring, zelfs als je het boek kent. Het Schepsel begaat een moord, waarvoor een onschuldige dreigt te worden opgehangen – grijpt Frankenstein in? De aanloop die dient om Frankensteins dilemma te schetsen sorteert zo een averechts effect.

Halverwege de tweede akte krijgt Frankenstein onverwacht bezoek van zijn oude vriend Henry en is er opeens wél drama: wat is dit monster? Zulke directe taal en confrontaties zijn zeldzaam. Met scherpere keuzes hadden de moorden op Henry en Frankensteins bruid veel aangrijpender kunnen zijn, in plaats van punten in een intellectueel schema. Je krijgt de indruk dat de makers bij het graven naar diepe lagen de oppervlakte zijn vergeten. De rijkdom van de Frankensteinmythe is zo een valkuil gebleken: scherend langs boeiende vragen stelt de opera er eigenlijk niet één.

Componist Mark Grey schept een aantal sterke soundscapes, donderend of tinkelend. Orkestpassages doen soms aan John Adams denken. Maar zijn vocale schriftuur is eenvormig en clichématig, met onhandige tekstherhalingen en ridicule hupsjes. Voor de cast, die uitblinkt in vibratorijk galmen, is er weinig eer aan te behalen. De muzikale hoogtepunten zijn instrumentaal, zoals de lugubere scène waarin Frankenstein uit vrouwenlijken een gezellin voor zijn ‘Schepsel’ probeert te maken. Sonore bassen, pulserende strijkers, obsessief repeterende melodische figuurtjes – een klanklandschap dat tegelijk dreigend en verleidelijk is, en sprekender dan veel andere scènes samen.

Mijn recensie:

Ik had Frankenstein nog nooit gezien of gelezen, dus benieuwd was ik zeker. Maar echt onder de indruk was ik toch niet. Ik verwachtte veel meer van de opera. Deze kon ook niet steeds mijn aandacht volledig houden. Het gebeurde wel eens dat ik wat afdwaalde in mijn gedachten.

Dit lijkt ook het geval geweest te zijn bij de recensent, zo vertelt hij toch in alinea vier. In alinea vijf vertelt hij hoe het soms wat ingewikkeld kan zijn. Ok dit heb ik ondervonden. Er gebeurde soms veel door elkaar waardoor ik niet meer kon volgen. En door het feit dat alle mensen op het podium kaal waren, kon ik al helemaal niet meer volgen, want, wie was nu weer wie?

Al bij al was de cast wel zeer goed. Bij hun heb ik niets aan te merken. Het is het script dat niet helemaal in orde was volgens mij. Het had veel beter en leuker kunnen zijn. Frankenstein de opera is dus, naar mijn mening, geen echte aanrader.