ベルギーの古都ブルージュを舞台に、愛妻を亡くした主人公パウルが妻と瓜二つの女性と出会い、倒錯のひと時を過ごす物語を幻想的に描いた「死の都」。かねてから上演を望む声が多かった傑作オペラがついに新国立劇場に登場します。コルンゴルトは20世紀初頭、ウィーンの神童として人気を博した作曲家で、年23歳の時に発表した「死の都」は大成功を収め、ヨーロッパ中のオペラハウスでレパートリーとなります。しかしながら、ユダヤ系であったコルンゴルトはナチスの迫害を逃れその後アメリカに亡命、映画音楽の分野で名声を築き、クラシック音楽界からしばらく忘れられた存在となります。現在ではコルンゴルトの再評価が進み、特に代表作である「死の都」は、世界中でこぞって上演されるようになりました。コルンゴルトの音楽は、Ｒ．シュトラウス、マーラーを思わせる後期ロマン派の作風で、甘美な旋律と豊潤な管弦楽が魅力。オペラファン必見の公演です。
- 写真：フィンランド国立歌劇場公演より
©Stefan Bremer
Ragnarok (Série) ()
• Série de Adam Price • • Saison 3 sur Netflix le •
• Musique originale composée par Halfdan E, Jonas Struck, August Fenger Janson
Halfdan E (saison 1), Jonas Struck (saison 2) & August Fenger Janson (saison 3) signent la musique de la série fantastique danoise de Adam Price.
[© Texte : Cinezik] •
Original Score • Netflix Music (18 octobre )
Acheter sur Amazon
Acheter sur QOBUZ
Tracklist (de la BO en CD ou Digital)
1. Vidar Being Toxic - Halfdan E ()
2. Magne and the Gods - Halfdan E ()
3. Gry is Sad - Halfdan E ()
4. Lost Friends - Halfdan E ()
5. Not a Single Bone Broken - Halfdan E ()
6. Field Trip - Halfdan E ()
7. The Funeral - Halfdan E ()
8. War - Halfdan E ()
9. Sorrow and Danger - Halfdan E ()
We're Not Finished Yet - Halfdan E ()
Ragnarok Theme Pt. I - Jonas Struck ()
Thor vs. Jutons - Jonas Struck ()
Isolde Sings - Jonas Struck ()
Jutul Industries - Jonas Struck ()
At The Church - Jonas Struck ()
Magne Searching - Jonas Struck ()
Isolde - Jonas Struck ()
Brothers Destiny - Jonas Struck ()
Saxa & Magne - Jonas Struck ()
Ragnarok Theme Pt. II - Teitur ()
Dreame
An industrial waste
Since its introduction in , Sebastian Baumgarten’s production has been received with a chorus of disapproval, while Dutch artist Joep van Lieshout’s industrial-based set dominated by The Technocrat proved visually hard for the majority of the audience to accept who really wanted something more akin to its subject.
An obsessive installation representing a waste-recycling plant/chemical factory, The Technocrat would not have looked out of place in the Turbine Hall of London’s Tate Modern and a far cry from the traditional setting of the historic minstrels’ hall of Wartburg castle standing opposite the mythical realm of Venusberg, the magical mountain abode of Venus.
Zombie-like characters slaved away at The Technocrat - a Heath Robinson-type contraption of an amazing and intricate design - producing all types of waste material to be processed into bio gas and, in turn, recycled for the production of food and alcohol to give sustenance and pleasure to the pilgrim workers turned out in an array of multi-coloured costumes created by Nina von Mechow.
The Venusberg - represented by a large vertical circular cage occupied by an odd ass
Terfel&#;s admirers would not have been disappointed. His voice boomed
with authority, impressive for its strength, even when he had to sing
dragging a heavy rope across the stage and wade through the real water at the
front of the platform. Terfel&#;s vocal power always impresses, and he has
done interesting Dutchmen elsewhere. However, in this production, by
Tim Albery, he was not called upon to develop the character. Not long ago,
Albery presented Boris Gudonov as stolid, mild-mannered bourgeois.
This Dutchman was no more ravaged than Daland. When the women and
Daland&#;s sailors call out to the doomed souls on the haunted ship, they
face the audience and shine lights into the auditorium. When the Dutchman&#;s
crew do appear, they&#;re neatly dressed in uniform, as if they&#;d never
been to sea. Maybe there&#;s some deep meaning in this, but it could have
been thought through with more focus.
Anja Kampe as Senta
The performance was more interesting, though, for what it brought out in
the music. That glorious overture is a marvel of dramatic scene-painting,
setting the mood for the entire opera. How it&#;s staged reflects on the
whole production. Here it un
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