Ivor Bolton
1958 (68 лет)
Saul
François Roussillon, Barrie Kosky
Ivor Bolton, Lucy Crowe
Glyndebourne's Saul stole the summer and had critics raving. The Guardian (****) applauded virtuoso stagecraft from director Barrie Kosky in his debut production there, calling the show a theatrical and musical feast of energetic choruses, surreal choreography and gorgeous singing. For The Independent, which ranked it amongst five top classical and opera performances of 2015, there was no praise too high for the cast. The Orchestra of the Age of Enlightenment under Ivor Bolton sparkles from the pit with period panache, and designer Katrin Lea Tag's exuberant costumes (The Times ****) set the Old Testament story in Handel's time, with a witty twinge of the contemporary.
Saul
La Finta Giardiniera
Agnes Méth
John Graham-Hall, Alexandra Reinprecht
Part of an epoch-making release of Mozart's complete operas on DVD, here is the 18-year old composer's first mature opera buffa. Hilarity mingles with passionate emotions when belfiore believes he has killed his lover in a fit of jealousy, but then encounters her disguised as gardener sandrina. Famed filmmaker Doris Dorie directs a superb young cast in this tale of love, hate and intrigue across class barriers, all vividly depicted by Mozart's astonishingly rich and varied music.
La Finta Giardiniera
Theodora
Christoph Loy
Christine Schäfer, Bejun Mehta
George Frederic Handel's oratorio Theodora, in its first-ever staged version at the Salzburg Festival, was among the highlights of Handel Year 2009. Acclaimed director Christof Loy presented Theodora as the profoundly moving tale of a woman who prefers death to denying her faith, an interpretation captivated with bravura by world-renowned video director Hannes Rossacher. A luminous Christine Schaefer and countertenor Bejun Mehta formed a perfect leading couple altogether suited to conductor Ivor Bolton's vigorus reading.
Theodora
Deidamia
David Alden
Sally Matthews, Veronica Cangemi
Here is a rare and exceptional example in which the director and costume designer amuse themselves with `silly' costumes, but it actually works. I usually loath the stupid concept of 'clever' producers' of dressing opera singers in an motley set of `modern' and bizarre costumes (mostly tasteless) to help the `stupid' spectators to understand the universality of the opera across time and place. However, in this particular production I enjoyed every moment of it. All my reservations withstanding, I found that the costumes have actually helped highlight the `buffa' aspects of this supposedly `siria' opera. This work may not be among Handel's greatest masterpieces, but the way it is presented and sung here makes it a thorough pleasure for the senses.
Deidamia
