The only negative point would be the contradictions that sometimes happen between the libretto and the actions.
Synopsis. La mise en scène est due au trublion australien Simon Stone qui, pour en faire une oeuvre moderne, la situe dans le monde 2.0 d'aujourd'hui, mais sans y mettre beaucoup d'émotion. Postez votre avis. Top Sur le Monde.fr. Cela faisait douze ans que La Traviata n’avait pas connu les honneurs du Palais Garnier, qui pourtant lui convient tellement mieux que l’immense nef de l’Opéra Bastille.Mais un retour à Garnier ne signifie pas forcément une mise en scène d’époque, bien au contraire, pour ce qui concerne cette nouvelle – et très attendue – production. She did it all with great beauty and poise: she sang forte, with mezza voce, with slender pianissimi, and with potent low notes.
We saw the development of the strong social influencer into a simple woman in love who sacrifices her happiness for Alfredo’s sake before eventually becoming a strong but sick woman who has been abandoned by the society that once adored her.It has always been said that Violetta is a role that requires three different kinds of soprano: a leggera for the first act, a lyrical for the second and dramatic for the third. The box starts turning very slowly as the “love theme” begins and we see projections of Instagram, Facebook and Whatsapp presenting Violetta as a media influencer. We see a park with picnic tables, another club for Flora’s party, a square with a statue, and a hospital first with several patients receiving treatment and then just a single hospital bed lost in the huge white space for Violetta’s death scene. He sounded menacing during “Ogni suo aver tal femmina,” always keeping his torrential voice in control, but full of emotion. La Traviata (Palais Garnier) 2019 France 3h5.
Mio rimorso” with rage and fury, including with two well-sustained high B flats. Synopsis. Nouvelle Traviata à l’Opéra National de Paris, avec un trio de protagonistes qui cautionnent entièrement le déplacement, une mise en scène pétillante et légère qui ne laisse pas indifférent. tutto, tutto fini.”Benjamin Berheim, the French young tenor who performed Alfredo, was a gratifying revelation.
with dramatic force and volume before transforming her voice into a lamenting pianissimo with “non sapete quale affeto.” Her low B flat that ends the line “l’uomo implacabile per lei sara!” was solidly positioned and audible. Retransmission. Yves S. (2 avis) 30 septembre 2019 La Traviata Une version 2.0 de la Traviata; Une distribution excellente, dans le rôle titre Pretty Yende, bien sûr, une voix superbe, qui donne une interprétation d'une grande sensibilité mais aussi Berheim et Lapointe tous deux remarquables.
Leur amour est contrarié par le père du jeune homme, qui persuade Violetta de rompre, au nom de la morale bourgeoise. Her “Addio del passato” was really moving with beautiful pianissimi on the high A in contrast with a forte sound on “Ah! Retransmission. People were used to seeing Kings, gods or legends from the past and did not want the see themselves reflected on the stage. Pretty Yende sang the iconic role of Violetta Valery for the very first time. Then he gave off a sweeter timbre for “Pura si come un angelo,” interpolating an extra high G flat in “E dio che ispira, o giovine.” His interpretation of his aria “Di provenza” was sublime, with the baritone attacking the final high G flat with clean sound.The high F of “no, non udrai rimproveri” that closes this scene in “Ah Ferma” was heard clearly over the forte orchestra.Michele Mariotti was in charge of the Orchestra de L’Opéra National de Paris. For example, no curtain came down for the transition between scene one and two on the second act. La soprano Pretty Yende y. His high notes are round and well-projected, but most impressive of all is the potency of his voice when he sings soft, whether in mezza voce or pianissimo.His interpretation of the duet “Un di, felice” was remarkable for his use of the dynamics and mezza voce. He exaggerated all the dynamics to the maximum potential so that certain sections of the score sounded new and fresh.
She also has solid coloratura, no doubt the result of her bel canto experience. Based on the the play “La Dame aux Camelies,” which has been adapted from the novel with the same tittle by Alexandre Dumas (son), was inspired on the life of Alphonsine Plessis, a courtesan with had an affair with Alexandre Dumas’s son. We see how Violetta, dressed in a sexy night dress, skips the queue as a VIP guest.The box turns to reveal how two walls are gone and show a giant pyramid of crystal glass and an immaculate white inside walls. À Garnier, l’Opéra de Paris donne actuellement une nouvelle production de la Traviata, mise en scène par Simon Stone (on en rendait compte) et dont a distribution réunit Pretty Yend … publié le 13 octobre 2019 La Traviata (Palais Garnier) 2019 France 3h5. Votre abonnement CANAL vous permet de bénéficier des contenus Télérama réservés aux abonnés. When she gets out of bed in “Strano…cessarano gli spasmi,” we see Violetta walking into a deep fog inside the cube as the box finally closes. In “Follie, folllie…sempre libera” she displayed ample vocal pyrotechnics and strong emotions with her high C in “ritrovi” potent and strong. As usual, however, he has to sing long legato phrases, some of them ascending to high F while keeping the fluidity of the melody.
All the scenes are wonderfully directed, nothing is left out, the relationships between the characters are believable and moving and the staging is magical.The set, by Bob Cousins, is basically a cube placed on a revolving platform (yes, it seems that every director nowadays uses a revolving stage) which made the transitions between scenes and acts very smooth and quick. This young conductor is usually associated with Bel canto and for his vitality and ability to extract all the passion from the music in those score. But if we look back to Verdi’s premiere one of the problems he had was setting the opera on the same period he lived in, as this was something never done before.