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Music / opera

Troika

Sergej Rachmaninov

Reviews (10)

AllMusic

2010

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Stephen Eddins

2010

"The performance is spirited and energetic, and if the score as a whole doesn't always cohere, the individual numbers are always persuasive. As Zemfira, the unfaithful wife, soprano Svetla Vassileva sounds somewhat underpowered and occasionally shrill, but the male leads, baritone Sergey Murzaev, tenor Evgeny Akimov, and especially bass Gennady Bezzubenkov, are highly effective".

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Politiken

d. 23. Jan. 2017

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Thomas Michelsen

d. 23. Jan. 2017

"De østeuropæiske sangere, heriblandt basbarytonen Kostas Smoriginas og ikke mindst sopranen Anna Nechaeva og gamle Sergej Leiferkus som den nærige baron, er gode. La Monnaie-operaens orkester er i alle tilfælde med oppe på scenen og spiller fint. Men kombinationen af Kirsten Dehlholms og Hotel Pro Formas statiske visuelle koncepter og Rakhmaninovs senromantisk udtryksstærke musik er for besynderlig. Det ender som opera i stivnede billeder".

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Diapason

2016 septembre

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Didier van Moere

2016 septembre

BBC music magazine

2016 November

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Michael Scott Rohan

2016 November

"Musically it isn't bad, with Anna Nechaeva an appealingly sensuous Zemfire and Francesca, sturdy Greek baritones as jealous heavies Aleko and Lorenzaccio, and veteran Sergei Leiferkus excellent as the demented Knight. Mikhail Tatarnikov conducts the Monnaie's players with youthful vigour ... But visually this adds precisely nothing ... In all, the stylisation feels so random ... This is just disappointing".

Fono Forum

2010 August

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Gerhard Persché

2010 August

"Dirigent und Orchester sind auch ihre Pluspunkte, während die Sängerreige recht unausgeglich wirkt".

Operabladet Ascolta

(2001) 20. årgang nr. 3

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(2001) 20. årgang nr. 3

Operabladet Ascolta

(2004) 23. årgang nr. 1

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(2004) 23. årgang nr. 1

The gramophone

2016 November

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Mark Pullinger

2016 November

"Dehlholm's production is a sorry excuse for a staging, barely a step up from a costumed concert performance: costumed oratorio rather than opera ... Kostas Smoriginas is a stentorian Aleko ... Leiferkus is still in fine voice [The miserly knight], but his knight is already available on video ... Francesca da Rimini is the strongest opera of Rachmaninov's trilogy. Dehlholm stages it with similar costumes to Aleko but with colour drained to simple black and white. It looks more like a zebra crossing ... a crying shame when the vocal performances are so strong ... The Monnaie Orchestra play with tremendous verve, but Bel Air's horrible, boxy sound is another deterrent to enjoyment in this disappointing release".

Fono Forum

2016 Oktober

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Manuel Brug

2016 Oktober

"Ein Rarissimum: alle drei einaktigen Opern des jugendlichen Sergej Rachmaninow als Troika an einem Abend. Das hat das Brüsseler Théâtre de la Monnaie mit einer soliden russischen Besetzung gewagt, aus der der Altmeister Sergei Leiferkus charakterstark heraussticht ... Spass macht das gross besetzte Orchester unter Mikhail Tatarnikov mit seinen schwärzlichen Farben ... Von einer Inszenierung kann man nur bedingt sprechen. Kirsten Dehlholm ... stellt die drei Werke als statische Oratorien auf ... Eine entfesselte Kostümshow von Manon Kündig".

Klassisk

2016, nr. 42

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Per Rask Madsen

2016, nr. 42

"Kirsten Dehlholm, kendt fra Hotel Pro Forma, fik sidste år æren af som den første nogensinde at iscenesætte den første samlede sceniske opførelse af Rachmaninovs tre enaktere: Aleko, Den nærige Ridder og Francesca da Rimini ... Produktionens dirigent, Mikhail Tatarniko, beskriver ... "For at være helt ærlig er komponisten alt, de har til fælles" ... Kirsten Dehlholm kalder værkerne for henholdsvis opera som teater, opera som arkitektur og opera som en visuel kunstform".