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    <div class="td-post-featured-image"><figure><img width="696" height="433" class="entry-thumb" src="" srcset=" 696w, 300w, 1024w, 768w, 1536w, 356w, 1068w, 675w, 1900w" sizes="(max-width: 696px) 100vw, 696px" alt="Pretty Yende (3rd from left) and Juan Diego Florez (2nd from right)" title="La-Traviata_D5A5576_YENDE_FLOREZ.jpg"/><figcaption class="wp-caption-text"><span class="image_caption_text">Pretty Yende (3rd from left) and Juan Diego Florez (2nd from right)</span><span class="copyright">  © Vienna State Opera / Michael Pöhn</span></figcaption></figure></div>
    <!-- Entweder gibt es keine banner, oder die banner sind deaktiviert oder hier nicht entsprechend eingestellt! --><p>Again, by necessity and due to Corona, a stream (for which one is grateful to the Vienna State Opera, better than nothing!), But again a "premiere" that was not in the sense that it was not developed for the Vienna State Opera.

“La traviata” by Giuseppe Verdi came from the Paris Opera as interpreted by the Australian-Swiss director Simon Stone, who was previously only known for theater productions.

Stone had a complete transfer of the story from the Belle Epoque to the here and now, Violetta uninterrupted with images and messages in the various platforms. This gives the staging a permanent restlessness due to the flood of images that is everyday life for many people as soon as they look into their smartphones.

The only problem is – in this way, Verdi’s story is fundamentally no longer correct. Today the pop stars of social media are no outsiders, on the contrary. This makes the fate of the courtesan, who is ultimately excluded from high society, obsolete.

Irritating jumble, grandiose Florez

Whether a disco, a car, drag dances, a tractor (for the scenes “in the country”), plus constantly projected images, images, images in changing lighting, an irritating jumble – that’s how the director likes the present on stage depict, the opera does not really fit into this framework convincingly. Nevertheless, a largely gripping evening succeeded, which is solely due to the two main actors.

Pretty Yende created the leading role in this production a year and a half ago in Paris. She is the self-confident woman of today, a bit semi-silky, who plunges into great love and despair – with a radiant voice, enchanting phrasing and only rare deficits. Juan Diego Florez, however, is flawless as Alfredo.

The fear that he might stay in the belcantesque virtuoso repertoire for too long has fortunately not come true, the voice has gained warmth and smoothness, the expression depth, the presentation sovereignty. A particularly nice achievement.

Little if not at all impressed Igor Golovatenko in the role of father Germont, who, however, was completely abandoned by the director. On the other hand, the conductor Giacomo Sagripanti, who sounded out the poetry and drama of the work with great feeling and sovereignty, played an important role in the positive effect of the evening.

Vienna now has another production that can be packed away under the catchphrase “modern director’s theater”. There is a lot to look at. It’s a shame that the work and the composer take a back seat.


p style=”text-align: right;”>From Renate Wagner

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