Benjamin Hulett

With this DVD and Blu-ray of Rodelinda, one of Handel’s most emotionally complex operas, conductor Emmanuelle Haïm adds to her impressive Erato catalogue of the composer’s works. The imaginative production, by Jean Bellorini, was seen at the Opéra de Lille in Autumn 2018, and the cast features soprano Jeanine De Bique in the title role, countertenor Tim Mead as her husband Bertarido and another countertenor, Erato’s rising star Jakub Józef Orliński as Unulfo. Reviewing the production, Le Monde noted Emmanuelle Haïm’s “intimate connection with this music, which she knows how to unleash in all its violence, passion and heart-wrenching expressivity.”

"Idomeneo" de Mozart es una obra sobre el amor, el odio, los celos, la guerra y la destrucción. Muestra de una manera inquietante el genio musical del compositor de Salzburgo. Cada figura se caracteriza individualmente sin perder de vista el conjunto musical. En cierto modo, el "Idomeneo" anticipa técnicas wagnerianas en la composición. La dirección de esta producción en el Teatro Real de Madrid estuvo en manos probadas de Robert Carsen, quien lleva la obra al escenario de una manera contemporánea, moderna y muy inquietante. Bajo la dirección soberana de Ivor Bolton, Eric Cutler, David Portillo, Anett Fritsch y Eleonora Buratto se encuentran entre los cantantes.

A handsome prince falls in love with an abducted princess. Armed with musical instruments, he and his singing sidekick mount a rescue mission that tests their commitment to truth, love and humanity itself.

Glyndebourne's Saul stole the summer and had critics raving. The Guardian (****) applauded virtuoso stagecraft from director Barrie Kosky in his debut production there, calling the show a theatrical and musical feast of energetic choruses, surreal choreography and gorgeous singing. For The Independent, which ranked it amongst five top classical and opera performances of 2015, there was no praise too high for the cast. The Orchestra of the Age of Enlightenment under Ivor Bolton sparkles from the pit with period panache, and designer Katrin Lea Tag's exuberant costumes (The Times ****) set the Old Testament story in Handel's time, with a witty twinge of the contemporary.

Manon Lescaut's production was updated and it worked. Highly professional production with two of the best performances I've ever witnessed in any opera. By the end of the third act I was crying and by the end of the fourth act I could not stop the tears. These two can not only sing up a storm they act one as well. This is the best Manon Lescaut I've ever seen and hope the upcoming one at the Met is as good. It truly was thrilling. Kaufmann and Opolais were unbelievably fantastic and the orchestra was superb. Pappano is the kind of maestro you want to sing for as he coaches as in the old days of maestros like Levine, etc. This is highly recommended as a keeper!