I have said repeatedly, and today sees a strong need to repeat that when I make chronic operatic roles on this blog, I intend to reflect only my personal opinion on what I've seen and heard and, from there, to exchange views with those who have the patience to read mine and encouragement to write their own, to enrich my vision with others, even if they are completely mixed. It is never my intention to pontificate, give lessons to anyone, not invested with the absolute truth. It's just, again, my personal opinion but no more valid than any other person may have.
made this prior declaration of intent, which I hope will take into consideration, I tell you that I attended yesterday at the Palau de les Arts the premiere of "1984" , the opera composed by Lorin Maazel , with libretto by JD
McClatchy and Thomas Meehan , based on the novel by George Orwell , and that the illness has added to be the last Franco-lead teacher in the pit of Les Arts, thus ending a cycle five years he has held the musical direction of the Colosseum from Valencia and over which made us enjoy unforgettable nights.
And also last night will be unforgettable for me. Although on this occasion by attending a work that, musically, it seemed a pestiño gigantic proportions, and unfortunately, it will take a long time to remove him from my memory.
Lorin Maazel said to mark the world premiere in London of this work in 2005, his score is "kaleidoscopic, panoramic, multi-faceted" (only you forgot to add, as Super Mouse : "and Do not forget supervitaminarse
and mineralized " ). Since then we have to agree with teacher. The only problem is that this certainly variety, originality is absent and, worse still, the feeling of pastiche is too blatant.
atonality and dissonance make an appearance in the play, but not too aggressively, as if the composer would not have dared to dive fully into them, but just enough so that this "1984" sounds like "modern" . And along with that, find harmonies and melodic moments which seem to say: "this so you can see that if I write more classic I also do, but contemporary composers can not fall into these ordinarieces ".
If anyone gets bored during the performance, something that is not disposable, I would advise a very entertaining game that I
practiced to overcome the lethargy, to try to discover what composers can be identified throughout the work. We have moments when we "hear" Bernstein, Weill , Gershwin, Britten , Berg, Puccini, Strauss , references to classic jazz, to Broadway ... but the problem is that this jumble of black pudding with cod, I could not see no coherence or a pinch of creative personality.
also found the musical discourse conceived by Maazel flatter than the EEG of Belén Esteban, a line
monotonous, devoid of tension, and a clear mismatch between the dramatic force of the stage and music stand, which at least for me, I managed to convey emotion and drama found only attached to two or three specific occasions. Sometimes it felt like he was developing a play on stage and in the pit had infiltrated musicians rehearsing, making noise without rhyme or reason, annoying the players.
And for the record that my criticism of this work is not conditioned by the "difficulty" of listening, so much can have contemporary music. I'm not rejecting the dissonance or atonality, which in the hands of other composers
me can become captivated, I am expressing my dissatisfaction with the lack of inspiration, superficiality and boredom that he has conveyed Maazel.
operas with music I've seen more "difficult" but where was this dramatic instinct and emotion came to the room. Truly important music is not the melody or the tone or the use of sound effects, what is really important and what makes it great or not work is to make emerge the feelings and emotions in the listener. However, yesterday the only excitement of the night came when I noticed that this chestnut was over.
By contrast, the staging seemed fairly accurate.
address is designed to stage its world premiere in 2005 at the Royal Opera House London, for the Canadian film director Robert Lepage , who had already made forays into opera with assemblies for other operas such as "Bluebeard's Castle" of Bartók "or " La Damnation de Faust "Berlioz of . The Canadian director has the support of Carl scenery Fillion, costume design Yasmina Giguère , the wonderful lighting Michel Beaulieu and choreography Sylvain Émard that has also been responsible for the direction of this revival.
The stage is dominated by a rotating structure that is showing us with great functionality and flexibility the different places in
which the action: the place where people listen to Big Brother , the Ministry of Truth, Winston house, Pub, antique shop or the terrible room 101. The screens and projections are another key element of this staging, in my view, achieved with great efficiency, strength and sense of visual drama, portraying the oppressive atmosphere of suffocating fear that society lives bleak future portrayed by Orwell in his novel.
direction of actors is well crafted, with some apparent
Broadway musical influences, and have been introduced some references to the present time, as a clear reference to the Guantanamo prison, but the essence of the message wanted to convey in the original, and remains in the proposed Lepage an interesting vehicle that just missed being accompanied by appropriate music.
From the musical direction of Maazel little I can say. As it also the composer of this opera Frankenstein , direct as you pull off the very tripe and no one can argue that reading is not adequate. Although it was clear that sometimes the crazy volume
put in serious trouble solo vocal about not noted for their power.
I do not think it was the only one who missed last night felt the ever efficient Orquestra de la Comunitat Valenciana and do not feel qualified to say whether the harness on permanent percussion and screeching to be set on edge of the fiddles, were adjusted or went compass. There was, yes, indeed gorgeous interventions rope (with some incredible pianísimos ), the brass and percussion.
Al Cor de la Generalitat have joined on this occasion the Choir of Our Lady of the Forsaken the Escola Coral
Veus Juntes Quart de Poblet and Little Singers of Valencia . The initial intervention in the first frame of the choir was splendid and it is fair to single out the soprano Irina Ionescu that there is a short but extremely demanding solo performance with continuous treble, and solved with a power, cleaning and exemplary clarity. A pure violin. I welcomed that in the final applause the detail that had come out to greet alone to collect his well deserved award.
Among the performers, it was remarkable the effort of American baritone Michael Anthony McGee , which debuted in the role of Winston Smith , staying on stage for most of the work, acting with a commendable performance. Vocally he was willing but much more limited, it is difficult to hear on many occasions and abusing falsetto.
Nancy Gustafson as Julia showed his seniority, that is in its positive and negative sense; Richard Margison acute combined power and shaky; Lynton Black was correct Charrington, and the Parsons of Graeme Danby was inaudible.
tenor Andrew Drost As Syme, moved with acceptable reliability in a devilish tessitura, as were those required to soprano Silvia Vasquez Valencia, in his dual role and Drunk Gymnast , who saved with multiple correction Maazel obstacles placed by in these characters and wore a huge squeals, while completing a remarkable job as an actress. I want to highlight
Mary Lloyd-Davies, who showed great pleasure in singing the small role of Proletarian grateful .
I do not want to finish without making a public statement yesterday. For me surprise, but on the upper floors
had many gaps, the audience was practically full. This seemed an excellent start to a work of this nature. But after the first break, about a quarter of the capacity and took to his heels without any modesty. And at the end of the show, we stayed in the seats, with a pulse and breathing, less than a third of the brave men who started this intrepid adventure.
The final reaction of the survivors was to reward the artists with strong applause when he appeared Maazel onstage,
became the public standing ovation stood up and many brave, I guess as response to the work of these five years, with the enjoyment heard last night.
As usual at the premiere, a lot of pretty faces, famous faces and faces tough. There was the usual Rappel, I say I guess that's fine engañifla if he could see in advance the merciless tostón was coming and did nothing to avoid it. We also saw
occupying pride of place to the still President of the Generalitat, making it clear that he does not lift your buttocks
official seat or endorsing Maazel whole "1984" , because that endured until the end. Although to him what that script would attract more science fiction that spoke of mass manipulation, absence of freedom of speech, silence those who think differently, to repeat the lie until it becomes truth, to find enemies external to avoid internal critique, to cling to power at the expense of what is ... well, fantasy writer of the last century.
I return back to what you said earlier. All this is just my particular perception. And from that same personal feeling, I must say that after nearly four hours
holding this "1984", left Les Arts as tortured as Winston Smith Room 101. And also very sad and angry, because much regret that the last feeling I let the teacher Maazel, with whom I lived some of the most successful operatic evenings of my life is so awful.
We will take as the required toll that has made us pay, in addition to their exorbitant cache, for having been here over the years showing his genius in front of the orchestra wonderful that you created, for now, let us.
In any case, teacher, thank you for all ... (but not compose more operas, porlamordediós ).
I leave you with this video belongs to Londoners functions of this opera in 2005. In particular this is the moment of Broadway "1984" , the love duet from Act II Winston (Simon Keenlyside ) and Julia (Nancy Gustafson ) which is abruptly interrupted by the emergence of O'Brien (Richard Margison ):
video
elnim
made this prior declaration of intent, which I hope will take into consideration, I tell you that I attended yesterday at the Palau de les Arts the premiere of "1984" , the opera composed by Lorin Maazel , with libretto by JD
McClatchy and Thomas Meehan , based on the novel by George Orwell , and that the illness has added to be the last Franco-lead teacher in the pit of Les Arts, thus ending a cycle five years he has held the musical direction of the Colosseum from Valencia and over which made us enjoy unforgettable nights. And also last night will be unforgettable for me. Although on this occasion by attending a work that, musically, it seemed a pestiño gigantic proportions, and unfortunately, it will take a long time to remove him from my memory.
Lorin Maazel said to mark the world premiere in London of this work in 2005, his score is "kaleidoscopic, panoramic, multi-faceted" (only you forgot to add, as Super Mouse : "and Do not forget supervitaminarse
and mineralized " ). Since then we have to agree with teacher. The only problem is that this certainly variety, originality is absent and, worse still, the feeling of pastiche is too blatant. atonality and dissonance make an appearance in the play, but not too aggressively, as if the composer would not have dared to dive fully into them, but just enough so that this "1984" sounds like "modern" . And along with that, find harmonies and melodic moments which seem to say: "this so you can see that if I write more classic I also do, but contemporary composers can not fall into these ordinarieces ".
If anyone gets bored during the performance, something that is not disposable, I would advise a very entertaining game that I
practiced to overcome the lethargy, to try to discover what composers can be identified throughout the work. We have moments when we "hear" Bernstein, Weill , Gershwin, Britten , Berg, Puccini, Strauss , references to classic jazz, to Broadway ... but the problem is that this jumble of black pudding with cod, I could not see no coherence or a pinch of creative personality. also found the musical discourse conceived by Maazel flatter than the EEG of Belén Esteban, a line
monotonous, devoid of tension, and a clear mismatch between the dramatic force of the stage and music stand, which at least for me, I managed to convey emotion and drama found only attached to two or three specific occasions. Sometimes it felt like he was developing a play on stage and in the pit had infiltrated musicians rehearsing, making noise without rhyme or reason, annoying the players. And for the record that my criticism of this work is not conditioned by the "difficulty" of listening, so much can have contemporary music. I'm not rejecting the dissonance or atonality, which in the hands of other composers
me can become captivated, I am expressing my dissatisfaction with the lack of inspiration, superficiality and boredom that he has conveyed Maazel. operas with music I've seen more "difficult" but where was this dramatic instinct and emotion came to the room. Truly important music is not the melody or the tone or the use of sound effects, what is really important and what makes it great or not work is to make emerge the feelings and emotions in the listener. However, yesterday the only excitement of the night came when I noticed that this chestnut was over.
By contrast, the staging seemed fairly accurate.
address is designed to stage its world premiere in 2005 at the Royal Opera House London, for the Canadian film director Robert Lepage , who had already made forays into opera with assemblies for other operas such as "Bluebeard's Castle" of Bartók "or " La Damnation de Faust "Berlioz of . The Canadian director has the support of Carl scenery Fillion, costume design Yasmina Giguère , the wonderful lighting Michel Beaulieu and choreography Sylvain Émard that has also been responsible for the direction of this revival. The stage is dominated by a rotating structure that is showing us with great functionality and flexibility the different places in
which the action: the place where people listen to Big Brother , the Ministry of Truth, Winston house, Pub, antique shop or the terrible room 101. The screens and projections are another key element of this staging, in my view, achieved with great efficiency, strength and sense of visual drama, portraying the oppressive atmosphere of suffocating fear that society lives bleak future portrayed by Orwell in his novel. direction of actors is well crafted, with some apparent
Broadway musical influences, and have been introduced some references to the present time, as a clear reference to the Guantanamo prison, but the essence of the message wanted to convey in the original, and remains in the proposed Lepage an interesting vehicle that just missed being accompanied by appropriate music. From the musical direction of Maazel little I can say. As it also the composer of this opera Frankenstein , direct as you pull off the very tripe and no one can argue that reading is not adequate. Although it was clear that sometimes the crazy volume
put in serious trouble solo vocal about not noted for their power. I do not think it was the only one who missed last night felt the ever efficient Orquestra de la Comunitat Valenciana and do not feel qualified to say whether the harness on permanent percussion and screeching to be set on edge of the fiddles, were adjusted or went compass. There was, yes, indeed gorgeous interventions rope (with some incredible pianísimos ), the brass and percussion.
Al Cor de la Generalitat have joined on this occasion the Choir of Our Lady of the Forsaken the Escola Coral
Veus Juntes Quart de Poblet and Little Singers of Valencia . The initial intervention in the first frame of the choir was splendid and it is fair to single out the soprano Irina Ionescu that there is a short but extremely demanding solo performance with continuous treble, and solved with a power, cleaning and exemplary clarity. A pure violin. I welcomed that in the final applause the detail that had come out to greet alone to collect his well deserved award. Among the performers, it was remarkable the effort of American baritone Michael Anthony McGee , which debuted in the role of Winston Smith , staying on stage for most of the work, acting with a commendable performance. Vocally he was willing but much more limited, it is difficult to hear on many occasions and abusing falsetto.
Nancy Gustafson as Julia showed his seniority, that is in its positive and negative sense; Richard Margison acute combined power and shaky; Lynton Black was correct Charrington, and the Parsons of Graeme Danby was inaudible.
tenor Andrew Drost As Syme, moved with acceptable reliability in a devilish tessitura, as were those required to soprano Silvia Vasquez Valencia, in his dual role and Drunk Gymnast , who saved with multiple correction Maazel obstacles placed by in these characters and wore a huge squeals, while completing a remarkable job as an actress. I want to highlight
Mary Lloyd-Davies, who showed great pleasure in singing the small role of Proletarian grateful .
I do not want to finish without making a public statement yesterday. For me surprise, but on the upper floors
had many gaps, the audience was practically full. This seemed an excellent start to a work of this nature. But after the first break, about a quarter of the capacity and took to his heels without any modesty. And at the end of the show, we stayed in the seats, with a pulse and breathing, less than a third of the brave men who started this intrepid adventure. The final reaction of the survivors was to reward the artists with strong applause when he appeared Maazel onstage,
became the public standing ovation stood up and many brave, I guess as response to the work of these five years, with the enjoyment heard last night. As usual at the premiere, a lot of pretty faces, famous faces and faces tough. There was the usual Rappel, I say I guess that's fine engañifla if he could see in advance the merciless tostón was coming and did nothing to avoid it. We also saw
occupying pride of place to the still President of the Generalitat, making it clear that he does not lift your buttocks
official seat or endorsing Maazel whole "1984" , because that endured until the end. Although to him what that script would attract more science fiction that spoke of mass manipulation, absence of freedom of speech, silence those who think differently, to repeat the lie until it becomes truth, to find enemies external to avoid internal critique, to cling to power at the expense of what is ... well, fantasy writer of the last century. I return back to what you said earlier. All this is just my particular perception. And from that same personal feeling, I must say that after nearly four hours
holding this "1984", left Les Arts as tortured as Winston Smith Room 101. And also very sad and angry, because much regret that the last feeling I let the teacher Maazel, with whom I lived some of the most successful operatic evenings of my life is so awful. We will take as the required toll that has made us pay, in addition to their exorbitant cache, for having been here over the years showing his genius in front of the orchestra wonderful that you created, for now, let us.
In any case, teacher, thank you for all ... (but not compose more operas, porlamordediós ).
I leave you with this video belongs to Londoners functions of this opera in 2005. In particular this is the moment of Broadway "1984" , the love duet from Act II Winston (Simon Keenlyside ) and Julia (Nancy Gustafson ) which is abruptly interrupted by the emergence of O'Brien (Richard Margison ):
video
elnim
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