Accueil / A voir / Opéra de SYDNEY, du 26 juin au 30 août 2007, en vrac : Trouvère, Barbier de Séville et Enlèvement au Sérail

Opéra de SYDNEY, du 26 juin au 30 août 2007, en vrac : Trouvère, Barbier de Séville et Enlèvement au Sérail

VERDI – Il Tro­va­tore

Jul 2007 Tue 3rd to Aug 2007 Sat 4th

Il Trovatore

Il tro­va­tore is set in fif­teenth-cen­tu­ry Spain but the com­po­ser was living through the chao­tic Ita­lian poli­tics of the late 1840s. Elke Neidhardt’s pro­duc­tion, upda­ted to the Spa­nish Civil War, demons­trates how ope­ra speaks the lan­guage of revo­lu­tion, wha­te­ver the era.

Welsh-born tenor Den­nis O’Neill is the trou­ba­dour Man­ri­co, Michael Lewis is Di Luna, his chal­len­ger, and Leo­no­ra is sung by Nicole Youl. Final­ly, Ber­na­dette Cullen returns to recreate her magni­ficent por­trayal of the mys­te­rious gyp­sy Azu­ce­na. This pro­duc­tion was ori­gi­nal­ly com­mis­sio­ned by the State Ope­ra of South Aus­tra­lia, West Aus­tra­lian Ope­ra and Ope­ra Queens­land.

ROSSINI – Bar­ber of Seville

Jun 2007 Tue 26th to Aug 2007 Thu 30th

Le Barbier de Séville

Anto­nio Gau­di meets the Marx bro­thers in this new pro­duc­tion of Rossini’s The Bar­ber of Seville, crea­ted by Leon Kra­sen­stein and direc­ted by John Milson.Rossini’s mas­ter­piece, which set the stan­dard for a gol­den cen­tu­ry of Ita­lian ope­ra, finds itself here in a 1930s health spa where the rich and famous come to lick their wounds and smooth their wrinkles.
José Carbó made his Aus­tra­lian debut as the dap­per Figa­ro in 2004. He returns for this new pro­duc­tion to lead an outs­tan­ding cast while Rossini’s spark­ling score is brought to life under the baton of the inimi­table Richard Bonynge.
MOZART – The Abduc­tion from the Sera­glio

Jul 2007 Fri 13th to Aug 2007 Fri 10th

L'Enlèvement au Sérail

With a clash of cym­bals Mozart’s breath­less over­ture to The Abduc­tion from the Sera­glio races out of the pit. This is the work that laun­ched Mozart’s ope­ra­tic career, packed full of vir­tuo­sic arias and dra­ma­tic ensembles. To bring this you­th­ful mas­ter­piece to the stage is play­wright and direc­tor Michael Gow, whose irre­verent inter­pre­ta­tion sets the brilliant young composer’s tale of East meets West in that most contem­po­ra­ry of cultu­ral mel­ting pots, the air­port lounge.

After his debut in the 2006 sea­son of La cle­men­za di Tito, conduc­tor Jona­than Dar­ling­ton returns to lead an exci­ting cast. Emma Mat­thews takes up the chal­lenge of heroine Kons­tanze, sin­ging one of the most deman­ding sopra­no arias Mozart ever wrote. The char­ming Nata­lie Jones steps into the role of Blonde, Jamie Allen is the wily Pedrillo, and after his glo­rious debut as Fen­ton in Fal­staff, Andrew Good­win takes on the role of Bel­monte. Final­ly, in the role of the evil Osmin, we wel­come the outs­tan­ding lyric bass, Peter Rose.

A propos de Fabien

Après avoir travaillé le chant au Centre d’Arts Polyphoniques de Paris, il entre en 1995 au Conservatoire de Gagny où il est l’élève d’Evelyne Razimowsky en classe de Chant et de Jean-Louis Calvani en classe d’Art Lyrique. Il poursuit ensuite son perfectionnement avec Florence Montana au Conservatoire de Vincennes, puis au Conservatoire de Musique de Nouvelle Calédonie.

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