#Vitalij Kowaljow

[muchadoabout]

Eugene Onegin at the Zürich Opera House

Music Direction Gianandrea Noseda Producer Barrie Kosky Tatyana Ekaterina Sannikova Onegin Igor Golovatenko Lensky Benjamin Bernheim Gremin Vitalij Kowaljow | 24.02.2023

So, I finally got around to writing about my experience seeing Eugene Onegin at the Zürich Opera House. Let's get into it! 

The show started promptly at 7 pm, but we were allowed to enter the auditorium at 6 pm. Before the performance, there was a 15-minute introduction of the opera. However, since I'm not fluent in German, I could only understand about 80% of it.

The production, directed by Barrie Kosky, was set in an "idyllic forest" and remained more or less the same throughout the entire opera. The stage was a rotating turf surrounded by fake trees. The only time there was an additional set was during the Gremin’s palace scene, but it was dismantled during Onegin’s arioso, creating a distraction for the audience (or at least for me). 

I initially didn't understand the director's creative directions, particularly the symbolism of the jam jar that appeared hold significant meaning, until I read this review that shed some light on it. 

To my untrained ears, the performers were vocally exceptional. The auditorium was relatively small, and their voices reached even the farthest seat. Each performer excelled in their respective arias, but I was particularly impressed by Kowaljow’s rendition of Gremin’s “All men surrender to Love's power” aria, which I specifically wrote on my note as being sung “perfectly”. Sannikova and Golovatenko shared a believable chemistry, which is an crucial element of playing Tatyana and Onegin. Bernheim, who was on his home turf *ba dum tss*, received the loudest and longest cheers from the audience, which was so well-deserved. 

Here are some notable moments of this production: 

The whole scene of Olga/Lesky duet was unfortunately completely blocked from my view. However, there was a cute moment when those two were singing, Onegin and Tatyana were busy flirting with each other.

During the party scene, Onegin was jokingly massaging Lensky’s shoulders when he was being sulky. I assumed this was a character choice made by Golovatenko. It was quite funny. 

The pre-duel scene between Lensky and Onegin was executed with more respect compared to the Komische Oper's version of this production. Onegin was not mockingly laughing at Lensky. At the end of their duet, they were just sitting side-by-side, with Onegin’s arm over Lensky’s shoulders, which made the subsequent duel seem pointless. 

The duel scene in Act 2 was played off-stage. Tatyana’s scream echoed as Onegin returned to the stage with his once white now stained with blood, closing the act with the most dramatic end.

During the introduction session, it was explained that the rain effect used in the final scene was actually warm water to ensure that the performers would not feel cold while singing the most poignant duet. 

Overall, it was a great experience. I did not dislike this production. Neverteless, I did wish that some of the moments were played differently. Despite being a simple opera, Eugene Onegin has a lot of nuances that unfortunately only few productions manage to capture.

[joaquimblog]

INSISTINT EN DIE WALKÜRE AL OSTERFESTSPIELE SALZBUG 2017: Seiffert-Zeppenfeld-Kowaljow-Harteros-Kampe-Mayer; Nemirova-Thielemann

Peter Seiffert (Siegmund), Anja Harteros (Sieglinde) i Anja Kampe (Brünnhilde) a Die Walküre Fotografia BILD: SN/OFS/FORSTER Crec que sense por a equivocar-me, que la representació del streaming televisiu del dia 15 supera lleugerament la part musical i vocal de la retransmissió radiofònica del dia 8 d’abril. Seiffert mostra una millora respecte a la representació ja comentada en el post…

[demoura]

DIÁRIO DA PANDEMIA A 2 ABRIL -ANTES DA 2a FASE DO DESCONFINAMENTO TEMOS UM RT DE 0,97 , O JÚBILO POR A DONA DA CASA TER SIDO VACINADA , IDA ÀS COMPRAS COM O IRMÃO MIGUEL AO CORTE INGLÊS , E “DIE WALKURE “ DO FESTIVAL DA PÁSCOA DE SALZBURGO 2017 : na sexta feira santa Portugal registou mais 548 casos e 9 mortes..Tanto o índice de transmissibilidade RT (0,97) quanto a incidência aumentaram nas últimas 24 horas. Estão 513 pessoas internadas . Dessas, 131 estão internadas em unidades de cuidados intensivos. Com grande júbilo foi também ontem o dia em que a Maria Zaza foi vacinada com a primeira dose da vacina Pfizer . Levei-a ao Centro de Vacinação do Polo 3 do Estádio Universitário dez minutos antes da hora marcada 15.20 e fui buscá-la as 16.07 ! Considerou a organização excelente .Outro episódio feliz foi ter estado com o meu irmão Miguel durante uma ida a compras ao Corte Inglês .Embora não passe um dia sem telefonema há muito que não nos víamos ...Gostamos muito e partilhei com ele as minhas escolhas mais interessantes . Entretanto pela situação da pandemia na Áustria o Festival da Páscoa de Salzburgo foi adiado para 29 de outubro de 2021. Desejando uma Feliz Páscoa aos seus espectadores a Direcção disponibilizou o vídeo da produção de - Die WALKURE do Festival de 2017 dirigida por Christian Thielemann encenada por Vera Nemirova com os cantores Peter Seiffert, Georg Zeppenfeld, Vitalij Kowaljow, Anja Harteros, Anja Kampe, Christa Mayer, Johanna Winkel, Brit-Tone Müllertz, Christina Bock, Katharina Magiera, Alexandra Petersamer, Stepanka Pucalkova, Katrone .Se parecia uma ideia interessante celebrar o 50º aniversário do Festival de Páscoa de Salzburgo reconstruindo os cenários originais criados para a primeira produção de Die Walküre, supervisionada por Herbert von Karajan na realidade eles serviram como nada mais do que uma plataforma para uma produção estagnada, desprovida de novas idéias. No entanto, algumas prestações vocais e o ímpeto do trabalho da Orquestra si garantiram que a produção não fosse uma perda total.A reconstrução dos cenários de Günther Schneider-Siemssen é o mais longe que a produção vai em termos de recriação da produção original de 1967. São suficientemente estilizados para ainda funcionarem com efeitocomo o desenho central de uma plataforma circular, não muito diferente da produção de Pierre Audi para a DNO. O desenho dos cenários provou ser relativamente flexível para reconfiguração e actualização com com efeitos luminosos dramáticos .Há um elemento que certamente não será antiquado na produção é Christian Thielemann conduzindo a orquestra Staatskapelle Dresden. E olhando o elenco o elenco, há também uma formação sólida.A maioria das prestações foram capazes, mas com algumas exceções não conseguiam realmente acrecentar nada a uma encenação tradicional e um tanto monótona. É claro que Georg Zeppenfeld sempre será uma dessas excepções e seu Hunding estava impecável, . Peter Seiffert tem o tom ideal para Siegmund, mas parece cansado no final do Ato II. O Wotan de Vitalij Kowaljow e o Fricka de Christa Mayer estiveram bem .Anja Harteros lidou com empenho a sua estreia como Sieglinde,. O seu compromisso não pode ser criticado e fui conquistado por seu desempenho no final do Ato II. Se nada mais, ela trouxe um pouco de vida a uma produção que na maior parte parece um tanto estática e rotineira.

[8unginfo]

♫ Oper

La Bohème

von Giacomo Puccini - Film von Robert Dornhelm

Durch den Film wirbelt der lebenslustige Musiker Schaunard (Adrian Eröd), der von heute auf morgen lebt und immer Glück zu haben glaubt (Gesang: Stéphane Degout). Der bullige und griesgrämige Colline (Vitalij Kowaljow) verkörpert mit seiner Figur und seinem Bass den schwerfälligen Philosophen. Als er nach Schaunards unverhofftem Geldsegen sogar zum Friseur gehen kann, entlockt er seinem zivilisierten Spiegelbild so etwas wie ein zaghaftes Lächeln. Leider lässt seine Wirkung trotz der Frisur bei Frauen zu wünschen übrig. Sie laufen vor seinen Plattheiten davon. Stürmisch zeigen sich Marcel (George von Bergen), der eifersüchtige Maler...

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[muchadoabout]

E vo gridando: pace!     And I cry: peace! E vo gridando: amor!     And I cry: love!

VERDI: SIMON BOCCANEGRA San Francisco Opera, 2008

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OPERA IN HISTORY - March 12 On this day in 1857, Verdi’s political melodrama debuted at Teatro La Fenice in Venice. More than two decades later, Verdi and librettist Arrigo Boito unveiled the updated version of the opera, which includes the great Council Chamber scene.

[demoura]

AVASSALADORA SAISON 2019/20 DA ÓPERA DE PARIS;

A FRANÇA SUPERPODER DA CULTURA ! : Stephen Lisser despede-se « en grandeur «  19 óperas muitas novas produções elencos com as principais estrelas .mundiais e dois ciclos completos do Anel de Wagner com solistas de luxo , Alem dos 100:milhões de euros do Ministerio da Cultura Francês admiro o trabalho colossal para programar algo desta dimensão . Transcrevo o programa difundido pela Ópera Wire

« The Opéra National de Paris has announced its 2019-20 seasons which will feature a total of 19 operas and the entire Ring Cycle in an all-new production.

Bellini’s “I Puritani” opens the season in a production by Laurent Pelly. Elsa Dreisig takes the leading role with Javier Camarena and Francesco Demuro sharing the role of Arturo. Riccardo Frizza conducts the production which also stars Igor Golovatenko and Alexander Tsymbalyu

Performance Dates: Sept. 7-Oct. 5, 2019

Pretty Yende and Nino Machaidze headline a new production of Verdi’s “La Traviata” by Simon Stone. Benjamin Bernheim and Atalla Ayan alternate as Alfredo, while Ludovic Tézier and Jean‑François Lapointe share the role of Germont. Michele Mariotti conducts.

Performance Dates: Sept. 12-Oct. 16, 2019

Ana Maria Martínez and Dinara Alieva share the title role in Puccini’s “Madama Butterfly” with Giorgio Berrugi and Dmytro Popov alternating as Pinkerton. Marie-Nicole Lemieux and Eve Hubeaux share the role of Suzuki with Giacomo Sagripanti conducting.

Performance Dates: Sept. 14-Nov. 13, 2019

Rameau’s “Les Indes Galantes” gets a new production with Clément Cogitore directing and Victor García-Alarcón conducting. Sabine Devieilhe, Jodie Devos, Julie Fuchs, Mathias Vidal, Stanislas de Barbeyrac, Alexandre Duhamel, Edwin Crossley-Mercer, and Florian Sempey star in the production.

Performance Dates: Sept. 27-Oct. 15, 2019

Roberto Alagna, Aleksandra Kurzak, Anita Rachvelishvili, Étienne Dupuis, Vitalij Kowaljow, and René Pape headline a revival of Verdi’s “Don Carlo.” Nicole Car and Michael Fabiano also star in the leading roles with Fabio Luisi conducting.

Performance Dates: Oct. 25-Nov. 23, 2019

Reimann’s “Lear” returns with Bo Skovhus in the title role, Evelyn Herlitzius as Goneril, Gidon Saks as Frankreich, and Annette Dasch as Cordelia. Fabio Luisi conducts.

Performance Dates: Nov. 21-Dec. 7, 2019

Barrie Kosky directs a new production of Borodin’s “Prince Igor” with Philippe Jordan conducting. Elena Stikhina, Anita Rachvelishvili, Pavel Černoch, and Evgeny Nikitin lead the all-star cast.

Performance Dates: Nov. 28-Dec. 26, 2019

Sondra Radvanovsky stars in Bellini’s “Il Pirata” alongside Michael Spyres and Ludovic Tezier. Bel Canto specialist Riccardo Frizza conducts the concert performance.

Performance Dates: Dec. 16-19, 2019

Lisette Oropesa headlines a revival of Rossini’s “Il Barbiere di Siviglia” with Xabier Anduaga, Florian Sempey, Andrzej Filonczyk, and Krzysztof Bączyk. Carlo Montanaro conducts Damiano Michieletto’s production.

Performance Dates: Jan. 11-Feb. 12, 2020

Ravel’s “L’Enfant et les sortileges” will be showcased with Debussy’ ballet “L’Apres-midi d’un Faune.” The opera will be part of the Academie showcase.

Performance Dates: Jan. 20-29, 2020

Robert Carsen’s classic production of “Les Contes d’Hoffmann” will star Michael Fabiano in the title role. He is accompanied by Jodie Devos, Ailyn Perez, and Veronique Gens as his three muses and Gaelle Arquez as Nickclausse. Laurent Naouri plays the four villains, while Mark Elder conducts.

Performance dates: Jan. 21-Feb. 14, 2020

Boesmans’ “Yvonne Princesse de Bourgogne” will star Beatrice Uria-Monzon, Laurent Naouri, and Dörte Lyssewski in the title role. Susanna Mälkki conducts the production by Luc Bondy.

Performance Dates: Feb. 26-March 8, 2020

Pretty Yende and Sofia Fomina star in a new production of Massenet’s “Manon” directed by Vincent Huguet. Benjamin Bernheim and Stephen Costello share the role of Des Greiux with Ludovic Tézier and Roberto Tagliavini rounding out the cast. Dan Ettinger conducts.

Performance Dates: Feb. 29-April 10,2020

Mozart’s “Don Giovanni” stars Luca Pisaroni, Jacquelyn Wagner, Stéphanie d’Oustrac, Philippe Sly, Zuzana Marková, and Alexander Tsymbalyuk. Philippe Jordan conducts the production by Ivo van Hove.

Performance Dates: March 21-April 24, 2020

Anna Netrebko stars in David McVicar’s production of “Adriana Lecouvreur” alongside Yusif Eyvazov and Ekaterina Semenchuk. Giacomo Sagripanti conducts a cast that also includes Zeljko Lucic. Elena Stikhina also stars in the title role for two performances.

Performance Dates: April 27-May 12, 2020

“Boris Godunov” takes the stage with René Pape in the iconic title role. Other cast members include Evdokia Malevskaya, Rusan Mantashyan, Elena Zaremba, and Andreas Conrad among others. Michael Schønwandt conducts a production by Ivo van Hove.

Performance Dates: May 23-June 14, 2020

Verdi’s “Rigoletto” will feature Frédéric Antoun as the Duke, Zeljko Lucic as Rigoletto, and Elsa Dreisig as Gilda. Speranza Scappucci conducts a production by Claus Guth.

Performance Dates: June 2-June 21, 2020

Ermonela Jaho, Elena Stikhina, and Marina Costa-Jackson will rotate the role of Mimì in “La Bohème.” As Rodolfo, audiences will get a chance to see Francesco Demuro, Vittorio Grigolo, and Benjamin Bernheim. Julie Fuchs and Elena Tsallagova will each be Musetta while Lucas Meachem and Gabriele Viviani will be Marcello. Lorenzo Viotti conducts the production by Claus Guth.

Performance Dates: June 13-July 5, 2020

Mozart’s “Così Fan Tutte” will feature Jacquelyn Wagner, Stephanie Lauricella, Stephen Costello, Philippe Sly, Paulo Szot, and Ginger Costa-Jackson. Antonello Manacorda conducts.

Performance Dates: June 19-June 28

Ring Cycle

Ring Cycle

Calixto Bieto is set to direct a new production of Wagner’s Ring Cycle with an all-star cast.

“Das Rheingold” will star Iain Paterson as Wotan, Lauri Vasar as Donner, Ekaterina Gubanova as Fricka, Anna Gabler as Freia, while “Die Walkure” will be headlined by Jonas Kaufmann as Siegmund, Eva-Maria Westbroek as Sieglinde, Martina Serafin in the role of Brünnhilde, Ekaterina Gubanova as Fricka, Paterson as Wotan, and John Relyea as Hunding.

In the third installment, “Siegfried,” Paterson will take on the Wanderer with Julie Fuchs as the Waldvogel, Martina Serafin as Brünnhilde, and Andreas Schager in the title role.

“Gotterdämmerung” will star Anna Gabler as Gutrune, Ricarda Merbeth as Brünnhilde, Sarah Connolly as Waltraute, Johannes Martin Kränzle as Gunther, and Schager as Siegfried.

Philippe Jordan conducts the entire Ring Cycle.

Das Rheingold: April 2-15, 2020

Die Walkure: May 5-27, 2020

Siegfried: Oct. 10-18, 2020

Gotterdämmerung: Nov. 13-21, 2020

Complete Cycles: Nov. 23-28, 2020 & Nov. 30-Dec. 6, 2020

Concerts

Jordan and Nina Stemme will team up for a concert performance that features Wagner’s Wesendonck Lieder and the Prelude and Liebestod from “Tristan und Isolde.”

Performance Date: Oct. 24, 2019 & Oct. 25, 2019

Matthias Goerne sings Mahler’s Ruckert Lieder with Philippe Jordan conducting. The program also includes Mahler’s fifth symphony.

Performance Date: March 11, 2020

folder_openTagged in: 2019-20 season, Ailyn Perez, Aleksandra Kurzak, ana maria martinez, Anita Rachvelishvili, anna netrebko, Beatrice Uria-Monzon, Elsa Dreisig, Ermonela Jaho, Francesco Demuro, Gaëlle Arquez, javier camarena, Jonas Kaufmann, Julie Fuchs, Lisette Oropesa, Ludovic tezier, marie-nicole lemieux, Michael Fabiano, nicole car, Nina Stemme, Nino Machaidze, Opera de Paris, Paulo Szot, Pretty Yende, Rene Pape, Roberto Alagna, Sabine Devieilhe, Veronique Gens, vittorio grigolo, yusif eyvazov »

[joaquimblog]

Imponent direcció de Christian Thielemann en aquesta Die Walküre  que ha inaugurat el Festival de Pasqua a Salzburg i en la que el director berlinès al capdavant de la pluscuamperfecta Sächsische Staatskapelle Dresden i d’un equip de cantants quasi immillorable, demostra que el seu Wagner és referencial.

La qualitat d’aquesta direcció, del tracte sonor dramàtic de cada escena i de cada frase no és qualsevol cosa. Tot està mesurat i tot obeeix a un discurs narratiu immens, d’una èpica, però també d’un lirisme apassionat i d’una emotivitat extraordinària, no cal dir que en el darrer acte hi ha una emoció continguda que esclata en el comiat de Wotabn de manera absolutament definitiva.

Hi ha poques direccions que encara tinguin la virtut de trasbalsar-me des de la sorpresa i Christian Thielemann de qui creia que ja m’ho havia dit tot dirigint la Tetralogia, aconsegueix regirar-me amb  entusiasme totes les entranyes wagnerianes. En la seva direcció hi ha tensió i passió, un lirisme jovenívol encomanadís tot i que la veu de Siegmund no sigui el paradigma del que podem entendre per un adolescent arrauxat, però no en tinc cap dubte que sense l’entusiasme que el director sap transmetre a l’orquestra i als cantants, el Siegmund de Peter Seiffert seria molt més decrèpit.

Les frases que acompanyen a l’heroi durant el primer acte són d’un nitidesa i transparència admirable i ho aconsegueix sense aprimar ni extraure en cap moment la solidesa de la sonoritat èpica del primer acte, amb un us dels pianíssims prodigiós i fins i tot en una concepció cambrística de les escenes, més íntimes.

Vocalment la proposta té solidesa però no hi ha dubte que tot i que pensava que estaria encara més atrotinat del que està, el Siegmund de Peter Seiffert  pateix d’un desgast que desllueix la seducció que transmet l’esplendorosa Sieglinde de Anja Harteros, en un moment més que dolç, dolcíssim de la seva carrera.

Kampe no és una Brünnhilde clàssica, el que no vol dir que no se’n surti amb suficiència, però la soprano alemanya està lluny dels esclats poderosos de la filla rebel i estimada, la seva humanitat l’aproxima més a la darrera jornada que no pas en aquest moment esplendorós del seu poder i la seva rauxa. A la seva Bünnhilde li trobo a faltar insolència vocal i el seu cant l’aproxima massa a la genial Sieglinde que era fins ara. No estic segur que aconsegueixi el mateix grau de brillantor com a Brünnhilde però caldrà veure com evoluciona la veu.

El Wotan de Vitalij Kowaljow és molt sòlid i ha guanyat respecte a aquelles representacions amb Barenboim que intuïen més que confirmaven el que ara es mostra com una veu poderosa, contundent i autoritària, com correspon.

Sensacional el Hundig de Georg Zeppenfeld, segurament el baix més imponent del repertori wagnerià en l’actualitat sense discussió possible.

Magnífica també la Fricka de Christa Mayer i les valquíries del tercer acte.

Com que suposo que aviat podré insistir-hi perquè tindrem el streaming televisiu, em reservo l’opinió final després d’aquesta visió que segons les fotos que encapçalen l’apunt, segurament no ens reserva cap sorpresa trencadora.

Richard Wagner Die Walküre

Siegmund – Peter Seiffert Hunding – Georg Zeppenfeld Wotan – Vitalij Kowaljow Sieglinde – Anja Harteros Brünnhilde – Anja Kampe Fricka – Christa Mayer Gerhilde – Johanna Winkel Ortlinde – Brit-Tone Müllertz Waltraute – Christina Bock Schwertleite – Katharina Magiera Helmwige – Alexandra Petersamer Siegrune – Stepánka Pucálková Grimgerde – Katrin Wundsam Roßweiße – Simone Schröder

Sächsische Staatskapelle Dresden Direcció: Christian Thielemann

Salzburg, Großes Festspielhaus 8 d’abril de 2017

Mentre no disposem del suport vídeo del streaming televisiu aquí ens haurem d’acontentar amb la versió radiofònica de gran qualitat de la ràdio austríaca.

Salzburg Easter Festival 2017: Die Walküre (Kowaljow-Kampe-Harteros-Seiffert-Mayer-Zeppenfeld;Thielemann) Imponent direcció de Christian Thielemann en aquesta Die Walküre  que ha inaugurat el Festival de Pasqua a Salzburg i en la que el director berlinès al capdavant de la pluscuamperfecta…