#Marie-Ange Todorovitch | Explore Tumblr Posts and Blogs

joaquimblog · 7 years

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Avui, amics infernemlandaires, la cosa és simple, l’apunt serà curt.

Un Rigoletto més, que per a molts serà una festa i per altres, jo entre ells, una representació més sense gaire història a no sé que la decrepitud vocal arrossegada sense escrúpols per l’escenari us motivi a l’entusiasme, que també pot passar.

El binomi Nucci i Rigoletto no hi ha dubte que ha fet història, en a mi em sembla que ja fa anys que hagués deixat de fer-ne però com que el públic o a certa part del públic tant els hi fa que un cantant cali, “portamentegi” les notes altes a la recerca d’una ajuda que no pot arribar perquè la veu, com tot, s’ha d’adaptar a les lleis de la natura, oscil·li o mostri signes clamorosos d’esgotament fent amb tot plegat el que convingui per alterar la partitura a conveniència per tal de dissimular allò que és una evidència, ell encara continua sovintejant el rol sense cap mena de respecte a la partitura, respecte que a altres cantants se’ls exigeix amb escrupolosa precisió.

Acceptat Nucci com a Rigoletto estel·lar, poc importa la resta. El senyor Albelo fa un Ducca imprecís, poc acurat i elegant, només volent triomfar gràcies a uns aguts allargats i forçats a la recerca de l’aplaudiment fàcil d’un públic amb el nivell d’exigència sota mínims. Les possibilitats vocals del tenor espanyol són de privilegi i sap molt de greu que poden ser el més gran o un dels més grans, s’hagi conformat amb tan poc, la poca cura en tot: estil, línia, tècnica o sensibilitat musical fa que el seu Ducca sigui del tot prescindible i el que és pitjor, que la seva carrera no sigui com hauria de ser.

Nadine Sierra si que és rellevant, potser la seva veu necessiti una mica més de cos en els moments més dramàtics, però ella si que és acurada, musical i emotiva. És una llàstima que estigui tan descuidadament acompanyada.

Stefan Kocan no m’ha impressionat tant com en la darrera aparició al MET i la senyora Todorovitch hauria de cantar la Giovanna i no la Maddalena.

Alain Guingal va salvar la representació in extremis en substituir a Mikko Franck que es va indisposar i Charles Roubaud signa una direcció escènica convencional, tot i transportar-la a una contemporaneïtat poc preciosa amb element escenogràfics vistosos de Emmanuelle Favre que emmarcant l’imponent escenari natural del Théâtre Antique d’Orange.

L’èxit no cal dir que és apoteòsic. Anything goes!

Presenta la retransmissió televisiva, amb l’entusiasme que sempre l’ha caracteritzat, l’enyorada Natalie Dessay

Giuseppe Verdi RIGOLETTO òpera en 3 actes llibret de Francesco Maria Piave

Gilda : Nadine Sierra Maddalena Marie-Ange Todorovitch Giovanna : Cornelia Oncioiu La Contessa di Ceprano : Amélie Robins Rigoletto: Leo Nucci Il Ducca di Mantova : Celso Albelo Sparafucile : Stefan Kocan Il Conte Monterone : Wojtek Smilek Matteo Borsa : Christophe Berry Il Conte Ceprano : Jean-Marie Delpas Marullo : Igor Gnidii Il Paggio : Violette Polchi

Chœurs des Opéras d’Avignon, Monte-Carlo et Nice Orchestre Philharmonique de Radio France Direcció musical Alain Guingal

Direcció d’escena Charles Roubaud Escenografia Emmanuelle Favre Disseny de vestuari Katia Duflot Disseny de llums: Jacques Rouveyrollis Coreografia:Jean-Charles Gil Coproducció amb l’Opéra de Marseille

Orange, Théâtre Antique, 11 de juliol de 2017

Per sort la programació televisiva de l’estiu del 2017 ens ofereix moltes representacions operístiques i musicals de més interès, espero poder parlar-ne aquí.

ORANGE 2017: RIGOLETTO (NUCCI-ALBELO-SIERRA- Avui, amics infernemlandaires, la cosa és simple, l'apunt serà curt. Un Rigoletto més, que per a molts serà una festa i per altres, jo entre ells, una representació més sense gaire història a no sé que la decrepitud vocal arrossegada sense escrúpols per l'escenari us motivi a l'entusiasme, que també pot passar.

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infinitelytheheartexpands · 3 years

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pretty sure I've asked you this before, but since you've seen more operas/opera productions since, what's an opera you've seen more than one production of, and what are your thoughts on those productions? What do you like about some over others? How do you feel about the various casts? Do certain production concepts work better than others, and why?

Okay, so I’m gonna go ahead and do what I did when I hijacked your trouser role quiz post (sorry about that) to talk about a bunch of different Faust productions except I’m gonna talk about them MORE. so INCOMING:

Vienna 1985: first full production I ever watched, so it has that sentimental value. the biggest no for me is that the director decided to make Marguerite a nun??? (she gets kicked out after Act III) the production is set somewhere in the French countryside during the Napoleonic Wars and it actually works pretty well overall! not a fan of the extraneous ballet dancers, though. but there’s some really great stageplay and special effects (the golden calf is a sight to behold, and the church scene is incredibly creepy and I like it even though once again, LOSE THE EXTRANEOUS DANCERS PLEASE). the cast is really fantastic. Raimondi is still one of my favorite Méphistophélès(es?). even in the nun costume, Benackova is an amazing Marguerite. all in all: good show. lose the dancers. also the apotheosis is creeeeeeeeeeepy.

Paris 1975: the video quality was...kinda bad, not helped by the fact that the production is somewhat dingy. I like the vibe it was trying to go for but it just didn’t really work. the ROH did it way better. cast is excellent: Gedda is Gedda, Freni is Freni, Soyer is Soyer (and pulls off a baby blue suit at one point which is itself no mean feat). I like it! not my favorite though.

Geneva 1995: not great video quality either but pretty pretty PRETTY. the garden is particularly wonderful. also tries to go for the same vibe as Paris/later ROH and falls short of the latter. Samuel Ramey IS Méphistophélès. rest of the cast is wonderful too. not sure if there are any other Ramey Faust productions, but even if there are, must watch just for him.

And now for the ongoing ROH production saga:

Three broadcasts, all of the same wonderful McVicar Belle Époque Paris production. (This was the setting that both Paris and Geneva tried to get right but simply didn’t measure up). It’s a lot of fun, start to finish. Great visuals, great choreography (we get the ballet! and well done at that), great costumes (the Walpurgisnacht costume for Méphistophélès is iconic). No wonder it’s a company hit. Also this is just me personally but I fall hook, line, and sinker for any over-the-top Belle Époque aesthetic.

ROH 2004: Alagna, Gheorghiu, Terfel, Keenlyside, Koch. What more could you ask for? They’re all great (even if, sorry, that blonde wig is ugly as sin. just let Gheorghiu use her normal hair or at least a wig like it and stop trying to associate blondeness with pure heroines. end mini-rant). this is the first of 3 Alagna Fausts I’ve seen and he’s great in all of them. Gheorghiu is her amazing self, so is Terfel, Keenlyside is pure luxury casting in a pretty small role, and in Koch you see the beginning of a very nice career. the OG. it’s great.

ROH 2011: Gheorghiu is back! I liked her more in the 2004 outing tbh but she still does very well. Grigolo is Grigolo—I actually do like his voice but a) not as good as Alagna IMO and b) he’s a total creep/milker (ironically, it was a different run of this exact production that caused everyone to realize that and in turn was a pretty big scandal last year but I digress). Pape is glorious—this is one of 3 Fausts I’ve seen him do and he’s also great in all of them. Dima is even more of a luxury casting and Losièr is her utterly adorable self as Siébel.

ROH 2019: probably my least favorite overall cast of the three but still very, very good. they have tough competition. Fabiano and Schrott are my favorites in the cast (and not to be shallow but Schrott by far does the best job of pulling off the iconic Walpurgisnacht outfit IMO). Lungu is also very good (although we seriously need to lose the wig because it flatters no one). Dégoût and Fontanals-Simmons make good work of their roles.

I’m still mad that no one filmed the 2014 Calleja/Yoncheva (no wig!)/Terfel/Keenlyside/Pokupić revival.

Orange 2008: Once again a Belle Époque look, once again well-done overall. I have conflicting feelings about using such a huge space and huge forces: it feels right for some scenes but feels completely wrong for others. the effects and sets the space allows for, however, are very impressive. Siébel is sung by a tenor which is unforgivable (also the amount of abuse the poor child goes through...give him a hug). Alagna and Pape are both back and glorious. Inva Mula isn’t my favorite Marguerite but she does perfectly well. Jean-François Lapointe is a very good Valentin. not sure how I feel about this one overall.

Met 2011: the concept is kinda wonky to me (is it a flashback? is it him actually becoming young again? who knows?) and the visuals can often be off-putting, but it sufficiently works as a concept overall and makes for great theater. Pape once again proves how devilishly awesome he can be, Kaufmann is wonderful as always and I stg he MUST have actually sold his soul to the devil for That One Diminuendo (you know the one), and Poplavskaya is nothing short of wrenching. Losièr is yet again a completely precious Siébel and Russell Braun may not exactly be luxury casting but he still holds his own in a great cast.

Paris 2011: what??? the??? everloving??? hell??? is??? going??? on??? here??? seriously, this production (especially the first act and the final scene) is nothing short of bonkers. where are we??? when are we??? it’s impossible to tell. which is a crying shame because the aesthetic itself is good (a very impressive unit set) and the cast is excellent. Alagna and Mula team up again with great results, Paul Gay is a surprisingly good Méphistophélès (I had only seen him in one other production before and wasn’t a huge fan), Tassis Christoyannis is great (although I pity the nonsense stage business he has to do), Angelique Noldus is cute as cute can be, and even the smaller roles are well-cast (Marie-Ange Todorovitch and Alexandre Duhamel!). the production is just...what even, though.

I hope that answers it!

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