#Erica Petrocelli

[arcimboldisworld]

Don Giovanni - Oper Zürich 25.01.2022

Don Giovanni - Oper Zürich 25.01.2022 #Mozart #SebastianBaumgarten #JordandeSouza #Wiederaufnahme #Rezension #Opernkritik #Oper #OperZürich #PhilharmoniaZürich

Sebastian Baumgartens ungewöhnlicher “Don Giovanni” von 2013 an der Oper Zürich erlebte nach pandemie-bedingter Verschiebung seine Wiederaufnahme mit komplett neuer Cast und man muss feststellen, diese Inszenierung ist relativ gut gealtert und wird (was man an Pausengesprächen so aufschnappt) immer noch kontrovers diskutiert… (more…)

[mastcomm]

A Young Composer Takes On Opera’s Oldest Myth

“I was sort of attracted to the idea of the underworld being like a dentist’s waiting office, but I knew that wasn’t right and not of Sarah’s world of the original play,” she said, adding that future productions could reimagine the settings: “Down the line, people can envision the underworld as a dentist’s waiting office or a library or a street corner.”

Mr. Aucoin has written a score with shifting tones and feelings, and so Ms. Zimmerman developed an aesthetic vocabulary that is at once literal — “A beach is a beach,” she said — and whimsical. She has also kept the chorus offstage, to maintain the story’s intimacy.

This week, she was still making adjustments. At first she wanted to project supertitles on the set: “I think the gaze of the audience member to the stage should be that of a lover,” she said, “that unbroken staring into the face and loss of self.” But after the dress rehearsal — in which Erica Petrocelli sang Eurydice while Danielle de Niese continued to recover from a neck injury — Ms. Zimmerman took them out.

(On Thursday evening, Ms. de Niese was finally cleared to perform on opening night.)

In the orchestra pit, Mr. Aucoin had his own refinements. He was often self-deprecating, correcting the players while also placing the blame on himself: “This is my fault as an orchestrator,” “I may have been a little too enthusiastic.”

His demeanor at the podium has evolved since he started conducting his work. By his own description, he was once “a full-body conductor, to an egregious extent”; when he led a performance of “The Orphic Moment” in 2016, his arms swung as he breathed heavily and vocalized with the instrumentalists. Now he is more restrained and practical in his movements, more confident.

This change, from a young artist with something to prove to one increasingly comfortable in his own skin, is in the score for “Eurydice,” as well. Mr. Gilfry said it’s “on a whole other level, a quantum leap from his other writing.” The opera’s different registers — parodic, lyrical, noisy, and deeply felt — cohere in a way that, Mr. Aucoin feels, is “much more of a piece.” And, as he went over the finished score, he was happy he couldn’t spot influences in it: He is approaching something like his own style.

“I feel 100 percent calm,” Mr. Aucoin said. “I think it’s because I believe there are things buried in the piece that will nourish people some day. I feel really at peace for the first time with having transmitted something.”

Eurydice

Saturday through Feb. 23 at the Dorothy Chandler Pavilion, Los Angeles; laopera.org.

from WordPress https://mastcomm.com/a-young-composer-takes-on-operas-oldest-myth/

[mastcomm]

A Young Composer Takes On Opera’s Oldest Myth

“I was sort of attracted to the idea of the underworld being like a dentist’s waiting office, but I knew that wasn’t right and not of Sarah’s world of the original play,” she said, adding that future productions could reimagine the settings: “Down the line, people can envision the underworld as a dentist’s waiting office or a library or a street corner.”

Mr. Aucoin has written a score with shifting tones and feelings, and so Ms. Zimmerman developed an aesthetic vocabulary that is at once literal — “A beach is a beach,” she said — and whimsical. She has also kept the chorus offstage, to maintain the story’s intimacy.

This week, she was still making adjustments. At first she wanted to project supertitles on the set: “I think the gaze of the audience member to the stage should be that of a lover,” she said, “that unbroken staring into the face and loss of self.” But after the dress rehearsal — in which Erica Petrocelli sang Eurydice while Danielle de Niese continued to recover from a neck injury — Ms. Zimmerman took them out.

(On Thursday evening, Ms. de Niese was finally cleared to perform on opening night.)

In the orchestra pit, Mr. Aucoin had his own refinements. He was often self-deprecating, correcting the players while also placing the blame on himself: “This is my fault as an orchestrator,” “I may have been a little too enthusiastic.”

His demeanor at the podium has evolved since he started conducting his work. By his own description, he was once “a full-body conductor, to an egregious extent”; when he led a performance of “The Orphic Moment” in 2016, his arms swung as he breathed heavily and vocalized with the instrumentalists. Now he is more restrained and practical in his movements, more confident.

This change, from a young artist with something to prove to one increasingly comfortable in his own skin, is in the score for “Eurydice,” as well. Mr. Gilfry said it’s “on a whole other level, a quantum leap from his other writing.” The opera’s different registers — parodic, lyrical, noisy, and deeply felt — cohere in a way that, Mr. Aucoin feels, is “much more of a piece.” And, as he went over the finished score, he was happy he couldn’t spot influences in it: He is approaching something like his own style.

“I feel 100 percent calm,” Mr. Aucoin said. “I think it’s because I believe there are things buried in the piece that will nourish people some day. I feel really at peace for the first time with having transmitted something.”

Eurydice

Saturday through Feb. 23 at the Dorothy Chandler Pavilion, Los Angeles; laopera.org.

from WordPress https://mastcomm.com/a-young-composer-takes-on-operas-oldest-myth/