Ann Murray

"Las Bodas De Fígaro" de Mozart es una ópera inolvidable sobre el amor, el deseo y el poder principal de la pasión incontrolable. Completando el exitoso ciclo Mozart / Da Ponte en el Festival de Salzburgo, el director Sven-Erik Bechtolf ubica la acción en una majestuosa casa de campo inglesa en la década de 1920. La famosa Filarmónica de Viena ofrece una velada excepcional de música en la ciudad natal de Mozart. “Todo en el espectáculo evocaba espontaneidad y naturalidad: una producción intrigantemente renovada del director Sven-Erik Bechtolf; Actuaciones ganadoras de actores convincentes; Y la interpretación flexible que el director Dan Ettinger extrajo de la Filarmónica de Viena ...

Perhaps no opera is as closely and affectionately associated with a single opera house as Le Nozze di Figaro is with Glyndebourne. Michael Grandage's staging is no less than the seventh in the festival's history, and sets the opera in the sleazy Sixties. Directed by Robin Ticciati, the production was lauded for its "ideal pacing" and youthful cast (which includes "no weak link" and "looks gorgeous"—The Sunday Times), and continues Glyndebourne's rewarding explorations of Mozart and Da Ponte's "day of madness".

The English National Opera first mounted David Alden's production of Ariodante, one of Handel's greatest masterpieces, in 1993. It met with unanimous critical and popular acclaim, and this 1996 revival features many of the leading singers from the original production. Ariodante is Handel's 1735 setting of an episode from Ariosto, in which the King of Scotland's daughter is treacherously accused of infidelity to her promised husband. The range of feelings provoked as the characters develop is caught in music of quite extraordinary emotional power, even by Handel's own exalted standards.

Gioacchino Rossini's sparkling version of the Cinderella story comes live from the Salzburg Festival with Ann Murray and Francisco Araiza as Cinderella and the Prince. Director Michael Hampe envisions La Cenerentola less as a fairy tale and more as a gently satirical comment on the nature of society and the relationship between people. Conductor Riccardo Chailly's masterly display of the Rossini style is visually matched by the opulent and elegant set designs by Mauro Pagano. 162 minutes.

Live from Teatro alla Scala 1987.

Soprano Yvonne Kenny turns in a spirited performance as Aspasia in this brilliant staging of composer Wolfgang Amadeus Mozart's first notable opera -- penned when he was only 14 years old. The production, set in early Roman times, follows the inner circle of the empire's most formidable foe, King Mithridates of Pontus. Maestro Nikolaus Harnoncourt conducts the sterling cast, which includes tenor Gosta Winbergh and mezzo-soprano Ann Murray.

An excellent performance of this delightful opera. The principals are superb, especially the sisters. Bruscantini as Don Alfonso is past his prime, but he knows and understands the role inside out, so one does not even notice his vocal limitations. Araiza is in top form as Ferrando, and Morris makes virile Guglielmo. The only disappointment is Battle as Despina. Unlike her partners, she does not have feel for the Mozart ensemble, and her vocal mannerisms are totally unbecoming. How the producers allowed that to happen is a mystery. Muti's conducting is terrific, much better than on his La Scala video, where he is uninvolved.

Mozart’s “The Magic Flute”