At the beginning of the 19th century, in the countryside, a duchess suddenly finds herself in a very delicate position: pregnant by her lover while married to a duke she hasn't seen for 15 years. When he comes to visit her late at night, the duchess considers the worst.
At the beginning of the 19th century, in the countryside, a duchess suddenly finds herself in a very delicate position: pregnant by her lover while married to a duke she hasn't seen for 15 years. When he comes to visit her late at night, the duchess considers the worst.
At the beginning of the 19th century, in the countryside, a duchess suddenly finds herself in a very delicate position: pregnant by her lover while married to a duke she hasn't seen for 15 years. When he comes to visit her late at night, the duchess considers the worst.
Live performance at the Théâtre du Châtelet in December 2004. Marc Minkowski conducting Les Musiciens du Louvre-Grenoble. Stage direction by Laurent Pelly.
This is a joy from beginning to end. Although there are many tricks and ideas from Laurent Pelly, as always he seems to still retain the Offenbach magic. La Lott and Monsieur Beuron are a joy, but so is everyone else. The Patriotic Trio by the sea is both a hoot and wonderfully sung, the score seems truly complete yet never flags and the finale sequences for especially acts 1 & 2 are a joy of movement and sound fused as one glorious Offenbachian moment.
Charles Mackerras teases the romantic beauty from Gounod's score, which has been widely admired since its first performance at the Théâtre Lyrique, Paris, in 1867. In this 1994 recording, the youthful Roberto Alagna as Roméo and Leontina Vaduva as the unattainable Juliette lead an excellent cast in this touching portrayal of impossible love, based on Shakespeare's play.
John Eliot Gardiner conducts the Orchestra of the Opéra National de Lyon in this 1987 production of Claude Debussy’s opera of jealously and love denied, “Pelléas et Mélisande”, starring Colette Alliot-Lugaz and François Le Roux in the lead roles. The production places the story in vast gloomy castle halls, a sparse but atmospheric environment that only adds to the opera’s sense of dark beauty entangled with doom.
