Magic opera, Singspiel, a comedy with spectacular stage effects, Masonic ritual with Egyptian mysteries, heroic-comic opera? Die Zauberflöte is heard more often and has been more frequently performed, discussed, queried and interrogated than almost any other work in the history of opera. It is rare for the mysteriousness and multiformity of a work to be adjured with such mantric intensity. It is equally rare for a work to enjoy such undisputed success despite all these debates – and for over two hundred years at that.
Juan Diego Flórez dazzled audiences and critics alike when he played the virtuoso role of Orphée in La Scala’s first ever staging of Gluck’s opera in its French version: “Juan Diego Flórez delivered a lesson in style. His tone is darker and his projection more self-effacing than in the past, but class is permanent. His agility and legato are utterly thrilling. The ovations were never-ending.” (Corriere della sera) The present release is a production by Royal Opera House, Covent Garden, London Recorded live at Teatro alla Scala, Milan, March 2018. Gluck’s Orpheo ed Euridice was first performed in 1762. It is the first of Gluck’s “reform” operas, in which he attempted to replace the abstruse plots and overly complex music of opera sera with a “noble simplicity” in both the music and the drama. The present production was staged by Hofesh Shechter and John Fulljames.
El gran e indiscutible éxito de radica en el perfecto equilibrio entre el equipo artístico de la producción, con una dirección vigorosa y minuciosa de Bolton y el gran trabajo teatral de Bösch , que realizan con un equipo vocal de gran nivel. Todo funciona con naturalidad y el resultado no puede ser otro que perturbador en el sentido más positivo y estimulante de la palabra. Ese mismo tándem ya nos regalaron un mucho más que interesante Orfeo de Monteverdi en Múnich (con un sensacional Gerhaher) que ya fue motivo de un apunte a IFL , y Bösch también fue el responsable de aquel aberrante Il Trovatore de la ROH.
Ópera basada en una leyenda sobre el músico renacentista Giovanni Pierluigi da Palestrina, quien salva el arte de la música contrapuntística (polifonía) para la Iglesia en el siglo XVI a través de su composición de la Missa Papae Marcelli
First of all it is impossible to conceive of the creative genius who wrote this music when only [...]. Add to this the outstanding musicianship of the young singers/actors and orchestra members.Christiane Karg has a voice that is pure beauty; her range, precision and her ability to convey tremendous emotion are astounding.Her aria "Laetari, iocari" is a tour de force, tossed off with the greatest ease. Then there is the beautiful duet she sings with Maximilian Kiener. This is to die for! The staging, the singing and the acting are of an extremely high level.
On the second disc Christiane Karg plays a totally different character, wily and playful, but oh, that voice!
