a fine bromance
Some of you cher public will no doubt see the pendulum as swinging too far in the other direction, but La Cieca finds this particularly convincing and exciting deptiction of the relationship between Don Giovanni and Leporello a refreshing change of pace after the listless staging of Mozart’s masterpiece currently in the Met’s repertory. The men are Simon Keenlyside and Kyle Ketelsen; they are eventually joined by Veronique Gens as Donna Elvira.
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If one views the staging of “Non mi dir” superficially, it may seem gratuitous and going for pure shock value. But I think that La Cieca’s assessment of the staging is on the money. And as with the Giovanni/Leporello final scene, the singers give very committed and convincing stage performances, showing that Beito has done his work as a director.
Bieito its a total genius. I can´t wait to see the whole DVD.
(and could simon BE any hotter??)
Comparing this to Vick´s Trovatore shows an incredible amount of ignorance. there is nothing original nor meaningful in that production. A total piece of trash.
And i only saw a clip of Guth´s Giovanni, but as excpected, very dissapointing. He is so overestimated lately. His Walküre in Hamburg was one huge mistake after the other, not to mention a complete bore.
Bieito its a total genius. I can´t wait to see the whole DVD.
(and could simon BE any hotter??)
Comparing this to Vick´s Trovatore shows an incredible amount of ignorance. there is nothing original nor meaningful in that production. A total piece of trash.
And i only saw a clip of Guth´s Giovanni, but as expected, very dissapointing. He is so overestimated lately. His Walküre in Hamburg was one huge mistake after the other, not to mention a complete bore.
REF # 36: The singers in the 2008 revival of the Bieto production at the Liceu were not using body mics during the telecast. As a result, the people onstage who were closer to the stage microphones were louder than the others.
I think that the main issue with several of Bieito’s productions is a lack of editing. HE presents so many provocative ideas, many of which are inherent in the music, but then proceeds to hit us over the head with a sledgehammer. This was especially true with his ‘Trovatore’ in Hannover, which presented the story in a violence-overruled, gritty industrial wasteland. The demented nature of the women was powerfully drawn, but the men (especially the Elvis-impersonating Manrico) were lost amongst thy mayhem.