Without ambition, but not without quality così fan tutte - salzburg<

Integrate last season to compensate for the cancellation of several other shows, made with very few means and therefore relatively little ambitious, this Così fan tutte brings together an excellent distribution, manages to arouse a lot of emotion and reaches its goal:Make Mozart's work live, again and again, to the very heart of his homeland, attract crowds and make room fills, whatever the price of tickets and the number of representations.

It was the director Christof Loy, a great figure of the German scene whose COSI, presented to Frankfort in 2008, had aroused the enthusiasm of his colleagues, who was chosen in 2020 to meet this challenge.Without wanting to reinvent the wheel, he designed a fairly conventional show but very respectful of the booklet and what one can imagine of the intentions of the composer: a spectacle where humor succeeds emotion, play with drama, ironyIn despair, a marivaudage well in the spirit of the eighteenth ending, without worrying too much about likelihood or to print his mark on the work.It is fluid, visually very neat, it works alone, by the sole force of the singers and the partition, like a well -oiled mechanics.

The decor is made of two sliding white panels, each pierced with a door also white.Presented first side by side to form a uniform wall, they will open in the second act to suggest a large tree, the only element of nature to serve as a frame for sentimental procrastination of the two couples.All the action is in front of this decor giving the show a beautiful unit.The costumes, entirely black and white at the start of the room, are colored as soon as the two Albanians enter into scenes who compete in clothing eccentricities, of the most beautiful comic effect.The whole is generously lit and constitutes pretty paintings, pleasant to look at.

The overall design of the staging is rather a chamber opera, which would undoubtedly be better at ease in a more limited and intimate space than the big festspielhaus.

@malihhhaa @hariiibalu BRB im Searching How to Say No In Chinese

— shubham Sun Jul 25 21:31:48 +0000 2021

The best element of this production is certainly to be found on the side of the distribution.It brings together excellent sizes, perfectly distributed.The singers are age of the role, the girls are lovely, the boys look valiant and the music of Mozart does the rest.

Marianne Crebassa (Dorabella) and Andrè Schuen (Guglielmo) are probably the most solid elements: magnificent vocal ease in one and the other, very natural stage game, they seem to experience a real pleasure in playing comedy andgenerously communicate this pleasure to the public.The other couple rather chooses the emotion card: the ferrando of Bogdan Volkov, a young Ukrainian tenor, is extremely neat if not very powerful, and his air "Un'aura Amorosa" was a very big moment, aTrue little Mizarian emotion miracle.Elsa Dreisig en Fiordiligi shows a lot of slaughter, but the voice knows some small intonation weaknesses along the way.Extremely well distributed also, Lea Desandre in Despina multiplies the vocal prowess with a disconcerting naturalness and is played out of the difficulties of the role with a good insolence.Under the false beard of the notary Beccavivi, she is simply hilarious!Johannes Martin Kränzle, with an experience accumulated over the years and roared by a sort of resurrection (after a serious disease of the bone marrow and a transplant) which allowed him to go back on stage in 2016, makes a particularly donation alfonsoRoublard and efficient.

Just like in 2020, it was Joana Mallwitz, a young chef formed in Hamburg, was chosen to carry out the musical part of this company.Presented as the first woman to whom the Salzburg festival entrusts a complete production (this obviously says much longer on the conservatism of the Salzbourg authorities than on the own qualities of the winner ...), she nevertheless already has many other achievements to hertrack records, mainly in Germany, England and Scandinavia.Its gestic is ample and flexible, not always very precise, especially in vocal sets, which are, as we know, particularly perilous.The orchestra, placed at the front scene but not really in a pit, is also a little too sound compared to the tray and sometimes covers the singers, disadvantaged by the scale of the room.The evening however reserves a few sublime moments when the orchestra wants to play less strong to give way to pure song.