The Economist (January 23rd - January 29th 2010)
English | 92 pages | PDF | 42 MB
Stop!
The size and power of the state is growing, and discontent is on the rise
Magazine: download
Manon by Jules Massenet Performer: Didier Henry (Baritone), Rolando Villazón (Tenor), Manuel Lanza (Tenor), Natalie Dessay (Soprano), Samuel Ramey (Bass) Conductor: Victor Pablo Pérez Orchestra/Ensemble: Barcelona Teatro Liceo Orchestra, Barcelona Teatro Liceo Chorus Period: Romantic Written: 1883-1884; France Manon Lescaut – flighty and amoral, yet somehow innocent and lovable – is one of the quintessential French heroines, and her long-suffering lover, the Chevalier des Grieux, is always drawn back to her. Set in the 18th century, Massenet's opera traces her trajectory from carefree provincial girl to the toast of Paris and finally to her death as an exile in the wastelands of Louisiana. Massenet's setting demands a charismatic singing-actress. She must run the gamut from girlish insouciance to tragic pathos and command both a seductive lyrical line and sparkling coloratura. Natalie Dessay first took on the role in Geneva in 2004, when Forum Opéra described her as "overwhelming, believable (...) stunningly right, both vocally and theatrically" In June 27 at Barcelona's magnificent Liceu opera house, Dessay appeared in Manon, partnered for the first time on any stage by Roland Villaz&oactue;n. The production was by David McVicar, one of today's most sought-after directors of opera, noted for both his sense of spectacle and his penetrating perception. The cast also boasted veteran bass Samuel Ramey, still a magnificent singer, as des Grieux's father and Spanish baritone Manuel Lanza as Lescaut. Forum Opéra had the following to say: "How do you stage Manon and faithfully reflect the libretto without slipping into a literal approach? The Liceu squares the circle with panache, thanks to the combination of David McVicar's concept, singers who know how to act and an orchestral performance which does full justice to Massenet's score. "Natalie Dessay and Rolando Villazon bring typically generous commitment to their characters (...) Time and effort have rounded out [Dessay's] middle register and added substance to her lower notes, and the French soprano is (...) making a brilliant success of her transition to the lyric soprano repertoire. Blessed with a physique that favours her credibility in the role of a young girl, she finds the range of nuance to express the excited feelings of [a character] who wants everything now and suffers the consequences (...) The Mexican tenor (...) has always excelled at expressing emotion and brings the young lover utterly convincingly to life. "[The conductor] Victor Pablo Pérez shows a special affinity with Massenet's writing, achieving a flexibility and responsiveness from the orchestra (...) which brings out all the refinement of a score whose music, while typical of the late 19th century (...) has moments where it foreshadows subsequent decades." |
Montserrat is best known for her roles in Rossini, Bellini, and Donizetti operas. Her superb voice, breath control, exquisite pianissimos, and infamous technique overshadow her acting and dramatic abilities. Although Montserrat's personal favorite performance was her Norma on July 20, 1974, she is best known for her Vissi d'Arte from Puccini's Tosca, which displays her remarkable breath control and technique. She set the bar and no one has surpassed it. |
Montserrat is best known for her roles in Rossini, Bellini, and Donizetti operas. Her superb voice, breath control, exquisite pianissimos, and infamous technique overshadow her acting and dramatic abilities. Although Montserrat's personal favorite performance was her Norma on July 20, 1974, she is best known for her Vissi d'Arte from Puccini's Tosca, which displays her remarkable breath control and technique. She set the bar and no one has surpassed it. |
Montserrat is best known for her roles in Rossini, Bellini, and Donizetti operas. Her superb voice, breath control, exquisite pianissimos, and infamous technique overshadow her acting and dramatic abilities. Although Montserrat's personal favorite performance was her Norma on July 20, 1974, she is best known for her Vissi d'Arte from Puccini's Tosca, which displays her remarkable breath control and technique. She set the bar and no one has surpassed it. |
Montserrat is best known for her roles in Rossini, Bellini, and Donizetti operas. Her superb voice, breath control, exquisite pianissimos, and infamous technique overshadow her acting and dramatic abilities. Although Montserrat's personal favorite performance was her Norma on July 20, 1974, she is best known for her Vissi d'Arte from Puccini's Tosca, which displays her remarkable breath control and technique. She set the bar and no one has surpassed it. |
Montserrat is best known for her roles in Rossini, Bellini, and Donizetti operas. Her superb voice, breath control, exquisite pianissimos, and infamous technique overshadow her acting and dramatic abilities. Although Montserrat's personal favorite performance was her Norma on July 20, 1974, she is best known for her Vissi d'Arte from Puccini's Tosca, which displays her remarkable breath control and technique. She set the bar and no one has surpassed it. |
Acknowledged as one of the highlights of Italian opera master Rossini's ouevre, LA CENERENTOLA (translation: Cinderella) reworks the classic fairy tale into a lovely, lush operatic production. The world renowned opera performer Cecilia Bartoli gives a stunning performance in the title role, and is ably supported by Alessandro Corbelli, Enzo Dara, and Jill Grove. |
All for You is a tribute to the Nat "King" Cole Trio of the 1940s, when Cole performed as both a singer and a pianist. Krall, like her heroes Lena Horne and Carmen McRae, is also a singer-pianist, and she plays both roles on most of the songs here. She's able to link her singing to her piano playing in sympathetic ways and projects tremendous feeling through both. Like Cole in the '40s, Krall plays with a drummerless trio--here with guitarist Russell Malone and bassist Paul Keller. Their sense of intimate rapport is especially valuable on ballads such as "You Call It Madness" and "I'm Thru with Love," but also allows such uptempo tunes as "Hit That Jive Jack" to swing with surprising lightness. --Geoffrey Himes |
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