#Marco Arturo Marelli

[mstanyawinslow]

New production of Un Ballo in Maschera, Teatro alla Scalla, 2022.

[preciouslittlelifeforms]

Marco Arturo Marelli’s new production of Tchaikovsky’s Eugene Onegin at the Finnish National Opera, Spring 2017.

[reziprok]

Trailer: DIE FRAU OHNE SCHATTEN - Oper Graz

[operaexplorer-blog]

Puccini's western starring Antonenko and Magee. La Fanciulla del West, Wiener Staatsoper, January 14th, 2017

Puccini’s western starring Antonenko and Magee. La Fanciulla del West, Wiener Staatsoper, January 14th, 2017

Giacomo Puccini is one of my favourite composers, but somehow until now I have seen La Fanciulla del West only as livestream or MetHD and thus was quite eager to see it live with a great cast. As there was a plan to come to Vienna for La Sonnambula, the opportunity to see Aleksandrs Antonenko and Emily Magee in of the most innovative Puccini opera’s next evening was an unmissable choice. Part of…

[joaquimblog]

Daniela Fally (Amina) a La Sonnambula a la Staatsoper de Viena 2017

Juan Diego Flórez (Elvino) La Sonnambula Staatsoper de Viena

Luca Pisaroni (Rodolfo) a La Sonnambula Staatsoper de Viena 2017

Juan Diego Flórez va celebrar el seu 44è aniversari cantant el rol de Elvino de La Sonnambula de Bellini a la Staatsoper de Viena. Ell va fer interessant aquest nou i fallit streaming des de la capital austríaca,, darrerament molt poc estimulants.

La producció és la mateixa que varem veure al Liceu ara farà tres anys, deguda a Marco Artuto Marelli, però sortosament per a nosaltres varem tenir a una gran belcantista, Patrizia Ciofi, mentre que a Viena els van col·locar a Daniela Fally, una cantant de la casa tan poc interessant i distingida com avorrida. Imperdonable, perquè l’òpera es titula La Sonnambula i ella és o hauria de ser la gran protagonista, i no ho és.

Tampoc han estat gaire lluïts els responsables de l’òpera vienesa a l’hora de trobar una Lisa de relleu, i també en això el Liceu va oferir amb la sorprenent Eleonora Buratto, una mostra més de l’encert d’aquelles representacions. Maria Nazarova a Viena justeja molt.

Rosie Aldridge és una correcta Teresa

Pisaroni, per sort, fa un més que correcte Rodolfo, però el gran triomfador, com no podia ser d’altra manera, si no li posen una soprano a la seva alçada, és Juan Diego Flórez que torna a demostrar que aquest és el seu repertori natural i que els intents per esdevenir un tenor líric amb les incursions a Edgardo, Ferrand, Arnold o ara el Werther, són desitjos més que realitats i és quan torna als seus rols naturals quan la seva veu flueix natural i podem tornem a gaudir de la seva excelsa línia, classe i excelsa tècnica. Flórez sempre canta bé, fins i tot quan s’encaparra amb rols que el sobrepassen, però en aquests rols de líric lleuger, té, si els té, pocs rivals.

Vincenzo Bellini LA SONNAMBULA

Graf Rodolfo Luca Pisaroni Amina Daniela Fally Elvino Juan Diego Flórez Lisa Maria Nazarova Alessio Manuel Walser Teresa Rosie Aldridge

Director musical: Guillermo García Calvo

Chor und Orchester der Wiener Staatsoper

Director d’escena: Marco Arturo Marelli Escenografia: Marco Arturo Marelli Disseny de vestuari: Dagmar Niefind

Staatsoper de Viena, 13 de gener de 2017

De ben segur sense Flórez mai hagués parlat d’aquest streaming, però sé que aquí en són molts els que estaran contents que ho hagi fet. Sigui per a ells/elles.

STAATSOPER DE VIENA 2016/2017: LA SONNAMBULA (FALLY-FLÓREZ-PISARONI-NAZAROVA;MARELLI-GARCÍA CALVO) Juan Diego Flórez va celebrar el seu 44è aniversari cantant el rol de Elvino de La Sonnambula…

[rebeccanelsen]

Grateful to be taking the stage one final time this season as Violetta in Verdi’s La Traviata, here with my wonderful friend and colleague, Yasushi Hirano as Dottore Grenvil. We will be on stage together next month as Figaro and Susanna in Marco Arturo Marelli’s beautiful production of Mozart’s The Marriage of Figaro at the Vienna Volksoper! Don’t miss it! Stage photos by the talented Barbara Pálffy. ❤️🎶❤️ #oper #opera #verdi #traviata #vienna #violetta #rebeccanelsen #soprano #coloratura #ilovemyjob #alfredo #amamialfredo @volksoper #lasttime #volksoper #verdi #mozart #figaro #susanna @hirano_yasushi #operasingersofinstagram #singersofinstagram #operalife (at Volksoper Wien) https://www.instagram.com/p/CbZ46y4Au2z/?utm_medium=tumblr

[operaeoperanews]

LA SONNAMBULA al Wiener Staatsoper

LA SONNAMBULA al Wiener Staatsoper

LA SONNAMBULA di Bellini al Wiener Staatsoper di Vienna —

Review by Neco Verbis ©dibartolocritic —

Vienna, 13 gennaio 2017

Girando e rigirando da una vita per teatri, la Sonnambula di Vincenzo Belliniè sempre stata per il sottoscritto un rebus: mai trovata la produzione giusta. Non solo perché spesso gronda melassa fino a diventare insopportabile, ma soprattutto perché tra il quadro primo del…

[arthausmusik]

MEDEA | Aribert Reinmann | Vienna State Opera 2010: Michael Boder | ARTHAUS MUSIK from Arthaus Musik GmbH on Vimeo.

Get your DVD / Blu Ray here >>> AHM.lnk.to/Medea-ViennaVD

Marlis Petersen, Michaela Selinger, Elisabeth Kulman, Michael Roider, and Adrian Erod star in this Vienna State Opera production of the Reimann opera conducted by Michale Boder and directed by Marco Arturo Marelli.

Catalog No.: 101552

[preciouslittlelifeforms]

Tatyana’s letter scene from Marco Arturo Marelli’s production of Eugene Onegin, Finnish National Opera 2017.

[reziprok]

Trailer: TURANDOT - Oper Graz

[operaexplorer-blog]

Atonement for La Sonnambula: Florez, Pisaroni, Fally and Nazarova in Vienna Staatsoper, January 13th, 2017.

Atonement for La Sonnambula: Florez, Pisaroni, Fally and Nazarova in Vienna Staatsoper, January 13th, 2017.

To get into opera travel on Friday, 13th might be an adventurous proposal even for the least superstitious opera fan as it turned out. Flight delay, mad dash by a taxi from the airport to arrive at the evening box office to collect the ticket just 5 minutes to start, then get changed in a cramped ladies room, persuade cloakroom attendant to take the suitcase, and arrange for check-in to B&B…

[operaexplorer-blog]

The Egyptian Helena by Richard Strauss was unexplored territory for my operatic knowledge, and since I have decided to get immersion-type experience in Strauss-land over a weekend, I have not built up any biases to influence the perception of the performance. It was a wise move, as if all reading I have done after would have come before it, many things would not surprise me during the performance.

The downside of the first night of opera travel is quite typical – taking into account traditional late night combined with the early flight and a day filled with various activities at the destination, the evening comes with some fatigue, and that can be cured only with double espresso before a performance. My fault, I did forget about it, and rectified the mistake only at the interval.

Thus, the first part of the opera, which is intended as mythologically philosophical with participation of sorceress, elves, and omniscient mussel left me a bit confused and under impression that I have lost some part of the libretto or mixed up the story. Also, initially I have been confused about the geolocation of the main protagonist, – have I missed something at school and displaced Helena’s whereabouts during the legendary battle of Troy? as it turned out, not at all, and this is why sometimes it is important that you invest a bit more time and read beyond the synopsis about the intent of the authors and directors.

As it comes out, Egyptian Helena is mythological phantom created to rectify a problem of matrimonial fidelity, as well as to discover ways how our memory works – thus why we need to use palm potions of disillusionment and remembrance.

Strauss love for sopranos, especially spinto and lyrical type is also obvious in this opera, as most of the work consist of duets and only one exquisite solo aria by Helena in the beginning of Act 2. In that context it is very difficult to figure out who of the main characters is actually playing the central role, – either nominal protagonist Helena, exemplary sung and acted by Ricarda Merbeth, or charming, glistening Aithra, the role lived and sung by Laura Aikin vividly and enthusiastically.

Laura Aikin

  Ricarda Merbeth, Ronnita Miller

Special mention of the night goes to the fantastic mussel by Ronnita Miller, her mezzo soprano has such a depth of fascinating lower register, combined with tender, mellow tone in middle and upper register, I was tempted to find out how she would interpret role of Azucena in Il Trovatore.

Ronnita Miller

Not to forget main protagonist of the opera – Menelas or Menelaus, sung by Stefan Vinke, and acted convincingly throughout the performance.  Vinke has clear and strong voice, easily soaring above orchestra, and seems that particular score does not have any challenges for him, the tone was even, and top notes were delivered without forcing.

  Stefan Vinke

All other cast members did a great job as ensemble, but most of the praise has to be issued to the orchestra of Deutsche Oper Berlin which was led by Andrew Litton energetically, conveying all nuances of the score and obviously well supporting the singers.

  The staging needs special mention as again there has been smart use of the large rotating stage which allows  moving through the story uninterrupted by scene changing and offers fluid transition from one part of imaginary world into another, as well described in the performance description on the company’s website:

The stage becomes a mirror at the point when the various levels of the protagonists’ lives – true-life present, traumatically survived past and escapist withdrawal from the world – intermingle and reveal the tragic dimensions of their mendacious game as represented by hell, ante-hell and deceptive paradise

It was a pleasure to learn that direction and sets are by Marco Arturo Marelli, since his production of Don Carlo a few years back in DOB impressed me tremendously and in fact became one of the turning points towards more intense opera exploration, – also this time both Reggie and sets are exceptionally well done, supporting complicated libretto and music interaction in this messy, mythologically philosophical essay of family values.

Richard Strauss (1864 – 1949)

Opera in two acts by Richard Strauss Libretto by Hugo von Hofmannsthal First performed on 6th June, 1928 in Dresden Premiered at the Deutsche Oper Berlin on 18th January 2009

Cast

conductor Andrew Litton director, stage-design Marco Arturo Marelli costume-design Dagmar Niefind chorus-master William Spaulding Helena Ricarda Merbeth Menelas Stefan Vinke Aithra Laura Aikin Altair Derek Welton Da-Ud Andrew Dickinson first servant of Aithra Alexandra Hutton second servant of Aithra Stephanie Weiss first elf Elbenita Kajtazi second elf Alexandra Ionis third elf Rebecca Raffell the omniscient mussel Ronnita Miller choir Chor der Deutschen Oper Berlin orchestra Orchester der Deutschen Oper Berlin

Find my latest review on operaexplorer.com: Visual and vocal feast: Die Ägyptische Helena, DOB The Egyptian Helena by Richard Strauss was unexplored territory for my operatic knowledge, and since I have decided to get immersion-type experience in Strauss-land over a weekend, I have not built up any biases to influence the perception of the performance.