Il barbiere di Siviglia
Gioacchino Rossini
Keywords
Reviews (12)
MusicWeb international
2021 March
By
By
Stephen Barber (musikanmelder)
2021 March
"Performances of Gluck's operas are rare considering their musical qualities, so I am inclined to celebrate almost any company which has the courage to put one on ... Alceste does pose some problems. The story ... is rather thin - there is more variety in Euripides - and consistently melancholy ... However, the individual numbers are nearly all short, and each of them is very good, so it is worth putting up with the monotony ... The cast is excellent. Dorothea Röschman in the title role has a beautiful creamy voice and no lack of power ... As Admète, Charles Castronovo is thoroughly convincing ... The chorus is excellent and Manacorda conducts with verve".
Presto classical
2008
By
2008
"John Eliot Gardiner chose Gluck’s 1776 French version of Alceste for Robert Wilson’s production, conducting the piece for the first time with his period-instrument ensemble, the English Baroque Soloists. The excellent Monteverdi Choir provides the chorus and, unusually, they sing fiom the pit, with dancers taking their place on stage. They give magnificently persuasive expression to the horror and compassion demanded by the drama".
Jyllands-posten
d. 18. Aug. 2009
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By
John Christiansen
d. 18. Aug. 2009
"Alceste kan kun være en positiv opdagelse ... Gardiner dirigerer her English Baroque Solists og glimrende sangere som Poul Groves og Dietrich Henschel og i titelpartiet den populære Anne Sofie von Otter. Gardiner er en perfekt Gluck-dirigent, men det er her vanskeligere at følge den udramatiske Wilsons scenegang trods smukke billeder".
Politiken
d. 1. May 2003
By
d. 1. May 2003
Klassisk
2021, nr. 61
By
By
Steen Chr. Steensen
2021, nr. 61
"I denne version [af Alceste] er man gået linen helt ud ved at bede den belgisk-marokkanske danser og koreograf Sidi Larbi Cherkanuoi iscenesætte operaen. Resultatet er en forestilling, hvor dansen har en fremtrædende rolle ... Den amerikanske tenor Charles Castronovo behersker den følsomme og yndefulde stil til perfektion ... mens den tyske sopran Dorothea Röschmann ... her virker ude af trit med Glucks krav til lange, bårne fraseringer ... Dirigent Antonello Manacorda er til gengæld lydhør for både nuancer og de store linjer, og sammen med Bayerische Staatsorchester sørger han for et perfekt akkompagnement til solister og kor - og det belgiske danskompagni ikke at forglemme".
Klassisk
2015, nr. 38
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By
Andrew Mellor
2015, nr. 38
"Med den sidste molekyle af dramatisk fornemmelse og klarhed suget ud af Teatro Reals scene er Warlikowski tvunget til at minde sit forvirrede publikum om den historie, han forsøger at fortælle ... Et kor af buh-råb møder Warlikowski, da han kommer på scenen for at modtage bifald. Klapsalverne til sangerne er lunkne, med rette ... Eneste berettigede bifald er til orkestret, som spiller med gejst, elasticitet og stil under Ivor Bolton".
Klassisk
2009, nr. 13
By
By
Steen Chr. Steensen
2009, nr. 13
"Sjældent har en match været så vellykket: Gluck og Wilson. Begge skraber al form for pynt og forsiringer bort ... en scene i natteblåt lys og med klassiske søjler er den enklest mulige ramme for denne fortælling om troskab til døden ... Alceste bliver sunget af Anne Sofie von Otter, der er mere klassisk skøn end nogensinde, og hvis klangrigdom fylder rollen med alle de følelser, som Gluck har lagt ind i de formfuldendte fraseringer ... Gardiner lægger den sidste brik til dette stiliserede værk".
Fono Forum
2021 April
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By
Manuel Brug
2021 April
"Hier wird viel getrauert. Und viel getanzt ... Die Neuproduktion der Bayerischen Staatsoper vermag durchaus musikalisch Mitzureissen. Antonello Manacorda steht mit genau ausgezirkelter Gestik am Pult, Tanzmeister und Dirigent, bei ihm laufen alle Fäden zusammen ... Getanzt wird vom ersten Ouvertürentakt an ... Dorothea Röschmanns Alceste hat Alte-Musik-Erfahrung, inzwischen ist sie eine reife Sopranistin mit ... fülligen, selten gespreizten Tönen. Auch Charles Castronovo ist hier Ersatz für einen französischen Haute-Contre; was er mit metallischeren ... aber schön timbrierten Tönen wettmacht".
The gramophone
2021 May
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By
Richard Lawrence
2021 May
"Of the operas by Gluck that one is likely to encounter in the theatre, Alceste is surely almost the greatest, second only to 'Iphigénie en Tauride' ... The set design by Henrik Ahr is simplicity itself: grey and white panels at the back ... costumes are mainly white and subfusc, against which Alceste's yellow dress provides a welcome splash of colour ... Dorothea Röschmann presents a comfortable figure, both dignified and impassioned. She moves well and sing with an intensity that holds the attention ... The other parts are well taken, including Michael Nagy as the blustering Hercules ... The chorus and orchestra under Antonello Manacorda are fine, as is Tiziano Mancini's video direction ... This new version is ... very welcome".
International record review
2007 February
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By
Michael Tanner (musikanmelder)
2007 February
"Musically very fine ... The chief thing that makes the production bearable, and not only bearable but almost mandatory, is the stunning performance of Alceste by Catherine Naglestad ... The conductor Constantine Carydis keeps the music on the move without harrying it, so that the smallish orchestra, playing largely without vibrato, is able to make the most of Gluck's incredibly bold and original scoring".
The gramophone
2007 April
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By
Richard Wigmore
2007 April
"Musical riches are here but you must suffer a ghastly concept to hear them ... My reaction to this stark, modern-dress Konzept, set in what appears to be s school hall with an attached TV control room, veered between boredom an d irritation".
Operabladet Ascolta
(2005) 23. årgang nr. 5
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(2005) 23. årgang nr. 5