I already mentioned the Krzysztof Warlikowski's production of Macbeth as the best show I've seen this year.
(a) Because it was the best any theater can offer you today (opera or non-opera).
(b) Because the orchestra was perfect and Paul Daniel was extrafreakingordinary.
(c) Because of the dream-cast in which, thanks to Warlikowski, each and every member surpassed him/herself and delivered more than just his/her best singing. Especially Scott Hendricks' singing and acting skills were out of this world!
The show took place at La Monnaie in Brussels, the impeccable acoustics of which made the whole experience unforgettable. I discussed it already here and here...
A reader (many thanks to AN!) pointed out to me that two videos from this production appeared on YT. First video is in fact a photo-gallery that will please all of you who saw the show, because it brings back a glimpse of that rare moment in opera in which everything seems to be so perfect, so deeply human(izing)... Enjoy!
Second video is Come dal ciel precipita, superbly sung by Carlo Colombara. Andrew Richards is the author of this video (which explains the angle of shooting ;) ). Too bad there is no video of his [Richards'] aria O figli miei.
Showing posts with label Macbeth. Show all posts
Showing posts with label Macbeth. Show all posts
Friday, July 23, 2010
Wednesday, June 9, 2010
Krzysztof Warlikowski at La Monnaie/De Munt: the world's most talked about director in one of the coolest opera houses
His opera productions between 2004 and 2009 --when Gerard Mortier was at the head of the Paris Opera [and when Paris Opera mattered in the world of regular theaters too]-- spurred many strong reactions among public. Those who liked his shows loved them, and those who didn't they hated them.
At the very core of his theater is a generic notion of human suffering -- even if the shape or form changes, deep down it's always about suffering. He was already an important theatrical name before producing operas, but the way he shook the opera world was quite extraordinary.
My first encounter with his work was his production of Iphigénie en Tauride in Paris, which for many inexplicable and often irrational reasons, remains one of the most fascinating shows I've ever seen. It was emotionally and mentally disturbing even though there was nothing shocking in or about the show. Add to that a weird scene of Krzysztof coming up on stage after each show to rake all the angry boos -- it all made the event memorable and surreal. His goal is clearly not to please everyone, but rather to invite us to explore something new. That magic often works, but sometimes it doesn't -- in any case his audacity and the way he resets theatrical language to reconnect it (in his own way!) to the antique theater is most certainly fascinating.
His theater is modern on many levels, with many contemporary references (especially cinema related), but with most disturbing rhythms you could find in theater: most of the "action" is faster/slower than you'd want it to be.
When he produces a show for some theater in Paris (that is not an opera) it's not only strange that his so peculiar shows are sold out long in advance, but for an opera-goer like me it's like a shock to see a massive presence of young and very-young people in the crowd.
Why all this story about Krzysztof Warlikowski? His new opera production is to be premiered next Friday at La Monnaie/De Munt in Brussels [the exemplary well managed opera house!]. It will be Macbeth, with Scott Hendricks, Carlo Colombara, Andrew Richards, and Iano Tamar.
At the very core of his theater is a generic notion of human suffering -- even if the shape or form changes, deep down it's always about suffering. He was already an important theatrical name before producing operas, but the way he shook the opera world was quite extraordinary.
My first encounter with his work was his production of Iphigénie en Tauride in Paris, which for many inexplicable and often irrational reasons, remains one of the most fascinating shows I've ever seen. It was emotionally and mentally disturbing even though there was nothing shocking in or about the show. Add to that a weird scene of Krzysztof coming up on stage after each show to rake all the angry boos -- it all made the event memorable and surreal. His goal is clearly not to please everyone, but rather to invite us to explore something new. That magic often works, but sometimes it doesn't -- in any case his audacity and the way he resets theatrical language to reconnect it (in his own way!) to the antique theater is most certainly fascinating.
His theater is modern on many levels, with many contemporary references (especially cinema related), but with most disturbing rhythms you could find in theater: most of the "action" is faster/slower than you'd want it to be.
When he produces a show for some theater in Paris (that is not an opera) it's not only strange that his so peculiar shows are sold out long in advance, but for an opera-goer like me it's like a shock to see a massive presence of young and very-young people in the crowd.
Why all this story about Krzysztof Warlikowski? His new opera production is to be premiered next Friday at La Monnaie/De Munt in Brussels [the exemplary well managed opera house!]. It will be Macbeth, with Scott Hendricks, Carlo Colombara, Andrew Richards, and Iano Tamar.
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