Carmen
Georges Bizet
Keywords
Reviews (21)
MusicWeb international
2021 July
By
By
Paul Corfield Godfrey
2021 July
"Although the production does take some liberties with the period and presentation of the drama - the whole action is updated to the period of the opera's composition during the French Second Empire of Napoleon III - much of it is true to the spirit and indeed the letter of the score ... It is, moreover, excellently performed. The three principal artists are clearly closely engaged with the dramatic details of their renditions ... All of them, moreover have well-tuned and pleasing voices".
MusicWeb international
2021 June
By
By
Stephen Barber (musikanmelder)
2021 June
"it is the Méphistophélès of Erwin Schrott which dominates the proceedings. He is splendidly sardonic and manipulative and the way he leads the crowd in Le veau d'or is as splendid a piece of acting and singing as you can imagine. In comparison, Michael Fabiano's Faust is comparatively colourless ... Irina Lungu replaced an injured Diana Damrau as Marguerite and seemed to me to take her time in getting into the role ... but after her pregnancy and disgrace, and in a more appropriate costume, she is really touching ... Dan Ettinger conducts with more vigour than subtlety, but, as this is not a subtle piece, that was acceptable ... I enjoyed this performance and was glad to get to know the work".
Jyllands-posten
d. 30. May 2007
By
By
John Christiansen
d. 30. May 2007
"Teknisk ikke helt dugfriske sceniske optagelser. Opførelsen i Wien 1985 af Faust, som Den Jyske Opera har premiere på til februar, klinger dog godt ... Francisco Araiza en formidabel Faust, den tjekkiske Gabriela Benackova en fortræffelig Marguerite og Ruggero Raimondi en stærk Mefisto".
Jyllands-posten
d. 15. Dec. 2005
By
By
John Christiansen
d. 15. Dec. 2005
Jyllands-posten
d. 23. Feb. 2011
By
By
John Christiansen
d. 23. Feb. 2011
"En iscenesættelse, som for de fleste vil være problemfri, fordi man ikke skal spekulere over, hvad instruktøren mener, men kun koncentrere sig om Gounod ... Det er en speciel glæde at følge Angela Gheorghius Marguerite, som er gribende i sangens lyriske skønhed".
Klassisk
2010, nr. 19
By
By
Steen Chr. Steensen
2010, nr. 19
"Her i Faust boltrer McVicar sig i gammeldags teater og klichéer, som man troede forlængst begravet, men som netop hos McVicar får en elegant drejning, fordi traditionen udfordres ... Roberto Alagna og Angela Gheorghiu ... synger sig lige ind i hjertet med en overbevisende stilfornemmelse ... Dirigenten Antonio Pappano viser endnu en gang, hvor suverænt han behersker Gounods klangrige og dynamisk rige partitur".
Fono Forum
2011 März
By
By
Manuel Brug
2011 März
"Hier wird Gounod fast ungestrichen zum Blühen und Glühen gebracht - wunderbar".
Operabladet Ascolta
(2011) 29. årgang nr. 6
By
By
Henrik Marcussen
(2011) 29. årgang nr. 6
"Faust fra 1859 indeholder et sandt væld af den herligste musik ... McVicar og scenografen Charles Edwards har ... udfoldet herlighederne i et fantastisk rum ... Også sangerholdets sammensætning er det bedst tænkelige. Alagna viser med sin Faustfigur et forrygende overskud ... Gheorghiu er klart overbevisende både hvad angår hendes fremvisning af fornem værdighed og ved stemmens pragt ... Et rigtig godt køb det er det".
BBC music magazine
2014 July
By
By
Christopher Cook (musikanmelder)
2014 July
"Here the Met plays a fistful of trumps. Jonas Kaufmann is an ardent Faust and, in smart evening clothes, is as stylish sartorially as he is vocally ... Pape is a wickedly cynical Mephistopheles ... But the star is Marina Poplavskaya's Marguerite ... Poplavskaya makes you hear the Ballad of the King of Thule, the Jewel aria and the love duet as if the ink was scarcely dry on the page".
Diapason
2014 mai
By
By
Benoît Fauchet
2014 mai
BBC music magazine
2012 July
By
2012 July
"Here the Met plays a fistful of trumps. Jonas Kaufmann is an ardent Faust and, in smart evening clothes, is as stylish sartorially as he is vocally ... Pape is a wickedly cynical Mephistopheles ... But the star is Marina Poplavskaya's Marguerite".
Diapason
2014 mai
By
By
Benoît Fauchet
2014 mai
Operabladet Ascolta
(2014) 32. årgang nr. 6
By
By
Henrik Marcussen
(2014) 32. årgang nr. 6
"Her har Faust som teknokrat en finger med i udviklingen af atombomben ... Det er sjældent at se en sådan konsekvens i en regi-opera. Det giver mening ... og alligevel problemer når en 1600-tals historie skal overføres til vor tid. Jonas Kaufmann ... indfrier til fulde de stemmemæssige udfordringer. Men han fremstår underligt passiv i sammenhængen ... Marina Poplavskaya ... brænder stærkt igennem ... René Pape får meget ud af rollen ... Scenografien ... er dyster og kedsommelig".
Diapason
2023 février
By
By
Didier van Moere
2023 février
BBC music magazine
2021 July
By
By
George Hall (musikanmelder)
2021 July
"This is a top-flight cast. In a sensitive, intelligent and finely articulated interpretation, Michael Fabiano humanises the doddering old philosopher ... Stealing a number of scenes is Erwin Schrott, swaggering around in what is genuinely a tour de force ... Ettinger's approach is dynamic yet supple, pointing up the alternate punch and delicacy of Gounod's admirable scoring".
BBC music magazine
2016 June
By
By
George Hall (musikanmelder)
2016 June
"Gianandrea Noseda does a superb job in highlighting the dramatic sweep as well as the refined detail of Gounod's most popular score, drawing taut playing from the theatre's orchestra ... There's a high standard of singing from Charles Castronovo's warmly lyrical Faust, Irina Lungu's sentient and accomplished Marguerite [and] Ildar Abdrazakov's grandly ironic Méphistophélès".
Klassisk
2016, nr. 42
By
By
Steen Chr. Steensen
2016, nr. 42
"Symbolerne vælter over hinanden i italienske Stefano Podas iscenesættelse af Charles Gounods opera Faust, og det samme gør de mange ideer, som bliver hældt ned i denne sceniske pyt-i-pande ... Det er ganske enkelt for meget af det gode ... På imponerende vis lykkes det alligevel sangerne at eksponere deres karakter ... Den russiske sopran Irina Lungu kan meget mere end blot at brillere med juvelarien ... Ildar Abdrazakov er en farlig Mefistofeles med en kraftfuld og målrettet stemme ... Alt i alt lever denne produktion først og fremmest af sangerne".
Diapason
2016 octobre
By
By
Benoît Fauchet
2016 octobre
The gramophone
2021 July
By
By
Mike Ashman
2021 July
"McVicar's production is basically straight Gounod ... This is not an intellectual approach to the piece but the mixture of the sordid and the glamorous that we see on stage matches the faded grandeur of Gounod's setting to a T. It's well acted, played and sung too ... Chorus and dancers provide atmosphere and use space without turning the whole show suddenly into a more serious version of Les Misérable".
Fono Forum
2016 Juli
By
By
Manuel Brug
2016 Juli
"Die Visualisierung des Gounod'schen Faust ... ist mal schon untypisch anti-naturalistisch ... Dieser sterilen Stilisierung ... verändert sich zu wenig. Zumal Poda über die Personen nichts aufregend Neues zu erzählen hat. Musikalisch macht das allerdings Laune. Gianandrea Noseda hat seine Kollektive gut im dramaturgisch fein abgeschmeckten Dirigentengriff. Charles Castronovo kommt mit Diktion, Höhenlage und Charakter des Faust tenoral blendend zurecht. Ildar Abdrazakov fügt seiner Dämonengalerie einen weiteren Teufel hinzu".
The gramophone
2016 July
By
By
Mark Pullinger
2016 July
"Stefano Poda's production is heavy on symbolism, yet is stylish and enthralling ... Gianandrea Noseda ... leads a taut performance, drawing fine playing from his orchestra. The cast is mostly very good ... There's a lovely burnished quality to Castronovo's Faust and he sings a fine: Salut, demeure chaste et pure ... Abdrazakov's Méphisto is suave, with plenty of panache ... In a production where night and darkness dominate, the picture quality is excellent, as is the sound ... Faust can often seem a long opera ... but the three hours just speed by here".