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Reviews, Stage Reviews

Teatro La Fenice 2018-19 Review: Werther

https://operawire.com/teatro-la-fenice-2018-19-review-werther/

Sentimentality is possibly one of the most dishonest emotions we, as human beings, experience. It is also a destructive force in that it inserts a filter between reality and our perceptions, we cease to see the world as it is, but rather allow ourselves to construct a self-indulgent version, in which our feelings are deliberately accentuated or even completely manufactured, {…}
Reviews, Stage Reviews

Teatro La Fenice 2018-19 Review: La Traviata

https://operawire.com/teatro-la-fenice-2018-19-review-la-traviata/

Teatro La Fenice certainly plays its part in making “La Traviata” the most oft-performed opera in the world. This season alone it will present 35 performances, with another 25 scheduled for next year. As in many houses, therefore, Verdi’s much loved opera forms part of the company’s staple repertoire. Obviously, an orchestra’s familiarity with a work may act as either {…}
Reviews, Stage Reviews

La Fenice 2017-18 Review – Un Ballo in Maschera: Gianmaria Aliverta’s Foray Into US Racial Politics Generates Insightful Take on Verdi Classic

https://operawire.com/la-fenice-2017-18-review-un-ballo-in-maschera-gianmaria-alivertas-foray-into-us-racial-politics-generates-insightful-take-on-verdi-classic/

La Fenice opened its 2017-18 season with an interesting and courageous production of Verdi’s “Un Ballo in Maschera,” a production which under the direction of Gianmaria Aliverta aimed at producing a deeper reading of the work, one which sought to uncover the underlying structural political conflicts that led to the assassination of a political leader. Verdi and his librettist, Antonio {…}
Reviews, Stage Reviews

La Fenice 2016-17 Review – Cefalo e Procri: Solid Production Concept & Team Revives Underdeveloped Work

https://operawire.com/la-fenice-2016-17-review-cefalo-e-procri-solid-production-concept-team-revives-underdeveloped-work/

For the final new production of the 2016-17 season, La Fenice presented Krenek’s chamber opera, “Cefalo e Procri,” consisting of a prologue and three scenes. Written in 1934, for the 3rd International Festival of Contemporary Music at the Venice Biennale and premiered at the Teatro Goldoni, to a libretto by Kuefferle, it received only a lukewarm reception and promptly disappeared {…}
Reviews, Stage Reviews

Teatro La Fenice 2017 Review – La Sonnambula: A Risk-Taking Diva & Production Elevate Bellini’s Musical Genius

https://operawire.com/la-fenice-2017-review-la-sonnambula-a-risk-taking-diva-production-elevate-bellinis-musical-genius/

Bellini’s pastoral opera “La Sonnambula” made a welcome return to La Fenice, in a revival of Bepi Morassi’s 2012, widely-acclaimed production. In this outing, conducted by Fabrizio Maria Carminati, Irina Dubrovskaya played the role of Amina, with Shalva Mukeria as Elvino and Roberto Scandiuzzi as Rodolfo. The minor roles were undertaken by Julie Mellor as Teresa, Silvia Frigato as Lisa {…}
Reviews, Stage Reviews

Metropolitan Opera 2021-22 Review: Hamlet

https://operawire.com/metropolitan-opera-2021-22-review-hamlet/

(Credit: Karen Almond / Met Opera) Back in 2017, The Guardian meditated on why, despite being one of the world’s greatest plays, “Hamlet” had no great corresponding operatic adaptation. The article notes that despite there being about 40 actual operatic adaptations, none have stood the test of time or held the stage. Perhaps the lone work with staying power is {…}

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