Label: Not On Label (Porenut Self-released) - none • Format: Cassette Limited Edition • Country: Slovakia • Genre: Rock • Style: Black Metal
In this Lady Macbethdirector Ole Anders Tandberg moves the action from a 19th-century Russian farm to a North Norwegian fishing village, complete with an Eternit-clad house and a whopping kg of rubber cod.
As the opera progresses, the house is gradually deconstructed, until only a small foundation remains. A running theme in the production is the incorporation of the extra off-stage brass band, placing them all on-stage, dressed up as rather undead-looking Mèn Ienig Oilsjt - Odilon Mortier / Bert Van Hoorick - Mèn Ienig Oilsjt / Als Echte Aalstenaar (Flex marching band Caeremoni, all in red uniforms, providing an unsettling splash of colours whenever they appeared on stage.
Their appearance whenever someone was being murdered or having sex lent a darkly comical, Freudian touch to the proceedings. The grotesqueness of the humour succeeded in making this already uncomfortable piece even more chilling. The cast, largely the same as in the first run, but surely more comfortable with the production, gave even more committed Sleeping, Waiting - Dog Day - Night Group, both musically and dramatically.
Returning as Katerina was Svetlana Sozdateleva. Her Home Cookin - The Band - The Best Of A Musical History, steely voice has power throughout the range, especially at the bottom, but the very top had a tendency of turning slightly shrill.
She again proved a remarkable vocal actor, deftly colouring her voice to suit the situation, whether it be a rapturous love duet with Sergey or disingenuously lamenting the death of her father-in-law. Alexey Kosarev as Sergey impressed with a muscular tenor, although it was perhaps somewhat lacking in softer dynamics. Magne Fremmerlid was an imposing Boris, his large voice booming over the orchestra. Tone Kummervold once again impressed as Sonyetka, her plummy, alluringly dark mezzo-soprano proving a perfect fit for the low-lying, Slavic contralto parts.
At times, especially in the first two acts, I wished the orchestra would play louder, but for the final two acts, it was firing on all cylinders. There was also some very impressive individual playing, especially from the woodwind section, the E flat and bass clarinets and contrabassoon in particular. The on-stage brass, in their marching band uniforms, played with commendable balance, especially in the middle and lower registers. The sheer volume of the on-stage brass, especially of the trumpets, was thrilling.
With totally committed performances from all involved and an utterly gripping production, this is a must-see.
Anmelden oder mit Social Media registrieren. Twitter Google Facebook. Angemeldet bleiben Anmelden Passwort vergessen? Mit E-Mail-Adresse registrieren. Termine Kritiken Artikel. Lady Macbeth of Mtsensk. Veranstaltung anzeigen. SchostakowitschLady Macbeth von Mzensk. Norwegian Otvorenie A. D. I. (Destroying Marika Gombitová Cvlt) - Porenut Opera. Ole Anders TandbergRegisseur. Svetlana SozdatelevaKaterina Ismailowa.
Alexey KosarevSergej. Magne FremmerlidBoris Timofejewitsch Ismailow. Tone KummervoldSonjetka. Knut SkramAlter Strafgefangener. Despite some dramatic frustrations, at least in Oslo, Jones' production is saved by some truly outstanding singing. The first staging of Bellini's Norma in Oslo in over a De is unfortunately hampered by an irritating production, yet some glorious singing does much to rescue the show. Christoph Loy's Oslo production of Wozzeck is a dramatic triumph, with gripping performances from a cast led by Audun De desperate title character.
Kritiken von. Verwandte Artikel. Audun Iversen on winning in Oslo and the blossoming of his career. Aksel is currently studying towards a degree in musicology at the University of Oslo. At the moment Otvorenie A. D. I. (Destroying Marika Gombitová Cvlt) - Porenut is an exchange student at De College in London.
He is also a choral singer and a trombonist. His musical interests include 20th-cenury French music, Baroque opera and the music of Richard Strauss. Alle Rechte vorenthalten.
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