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Alongside Nadine Sierra, our tenorissimo triumphs at the Metropolitan Opera in Gounod’s Roméo et Juliette which will be broadcast in cinemas on March 23.

• Romeo and Juliet by Gounod

  Photo credit: Marty Sohl / Met Opera

• Romeo and Juliet by Gounod

  Photo credit: Marty Sohl / Met Opera

• Romeo and Juliet by Gounod

  Photo credit: Marty Sohl / Met Opera

• Romeo and Juliet by Gounod

  Photo credit: Marty Sohl / Met Opera

• Romeo and Juliet by Gounod

  Photo credit: Marty Sohl / Met Opera

• Romeo and Juliet by Gounod

  Photo credit: Marty Sohl / Met Opera

• Romeo and Juliet by Gounod

  Photo credit: Marty Sohl / Met Opera

• Romeo and Juliet by Gounod

  Photo credit: Marty Sohl / Met Opera

• Romeo and Juliet by Gounod

  Photo credit: Marty Sohl / Met Opera

• Romeo and Juliet by Gounod

  Photo credit: Marty Sohl / Met Opera

• Romeo and Juliet by Gounod

  Photo credit: Marty Sohl / Met Opera

• Romeo and Juliet by Gounod

  Photo credit: Marty Sohl / Met Opera

Released in 2016, this Romeo and Juliet will delight those nostalgic for a time when traditional shows were the prerogative of the Met. Bartlett Sher surrounds the action in an imposing setting, an Italian square bordered by the monumental facades of classical buildings, adorned with a clever array of modeling. Of the four levels of these constructions, whose shadows weigh like fate on the characters, the director does not do much, the theatrical action most often converging in the center of the stage space, only a few elements of furniture transformed into a chapel, Juliet’s room or a tomb. If nothing disturbs the narration, the attitudes remain the most conventional, certainly regulated with an undeniable craft – thus brawls, worthy of a cloak and dagger film. The only audacity: the shimmering costumes, which lack neither embroidery nor a lace ruffle, place the opera in the 18th century rather than in the Renaissance of the Shakespearean original.

Jewels of singing

The setting matters little when the jewels of song shine. We find the Romeo of Benjamin Bernheim, as ideal in New York as in Paris last spring, by the youthful look, the impeccable style, the superlative carving of the word. On the breath, traversed by an electrifying sensitive vibration, “ Ah! rise, sun! » reaches heights of poetry that capsize the room. And in the duets, this silver timbre, impeccably projected, blends wonderfully with that of Nadine Sierra, more pulpy, full of irresistible eroticism which is further underlined by a line of stunning plasticity – too bad if the consonants are sometimes blurred. This Juliet spins her waltz with a virtuosity as prodigious as her golden treble, shows a phenomenal lyrical breadth in the air of poison, dies away with treasures of delicacy, in symbiosis with her Romeo – and that they These cursed lovers are beautiful to see !

If there are no French artists around these two stars, our language is not too badly abused – by the choir in particular, very well prepared on this point. Nathan Berg (Capulet) and Richard Bernstein (Duke of Verona) compete for natural authority. Despite a somewhat unstable broadcast, Brother Laurent ofAlfred Walker is a mountain of goodness with an imposing volume. The Mercutio of Will Liverman tells the Ballad of Queen Mab with carnivorous accents tempered by a generous cantabile. The Tybalt of Frederick Ballentine shines with agility in his phrasing and clarity in his pronunciation. The Stéphano of Samantha Hankey, finally, makes his “fly” White dove » with a lot of grace in the melodic design, enhanced by a small, tasty vibrating grain.

Waiting for Yannick

If the Met Orchestra distills its usual splendors, Pierre Vallet directs it with excess caution, particularly in the first two acts – it is true that this is the first and only performance entrusted to the French conductor. This always flexible battle breathes with the board, but only really reaches its cruising speed from the clashes in III. There is no doubt that Yannick Nézet-Séguin, who will take over the musical direction when it is broadcast in cinemas on March 23, will further raise the fever. And that, through the cameras, the show will offer the material for beautiful images, around a couple of protagonists who have everything to set the screens on fire.

Romeo and Juliet by Gounod. New York, Metropolitan Opera, March 10. Performances until March 30.
Rebroadcast in cinemas on March 23 (list of theaters on www.pathelive.com).

2024-03-13 13:40:00
#York #American #dream #Benjamin #Bernheim

Broadcast from the Metropolitan Opera on Saturday March 9 to cinemas around the world, Mariusz Trelinski’s new production transposes the action into a contemporary dictatorship. Under the direction of Yannick Nézet-Séguin, the field is dominated by the great Lise Davidsen.

• The Force of Destiny by Verdi

  Photo credit: Karen Almond / Met Opera

• The Force of Destiny by Verdi

  Photo credit: Karen Almond / Met Opera

• The Force of Destiny by Verdi

  Photo credit: Karen Almond / Met Opera

• The Force of Destiny by Verdi

  Photo credit: Karen Almond / Met Opera

• The Force of Destiny by Verdi

  Photo credit: Karen Almond / Met Opera

• The Force of Destiny by Verdi

  Photo credit: Karen Almond / Met Opera

• The Force of Destiny by Verdi

  Photo credit: Karen Almond / Met Opera

• The Force of Destiny by Verdi

  Photo credit: Karen Almond / Met Opera

• The Force of Destiny by Verdi

  Photo credit: Karen Almond / Met Opera

• The Force of Destiny by Verdi

  Photo credit: Karen Almond / Met Opera

• The Force of Destiny by Verdi

  Photo credit: Karen Almond / Met Opera

• The Force of Destiny by Verdi

  Photo credit: Karen Almond / Met Opera

• The Force of Destiny by Verdi

  Photo credit: Karen Almond / Met Opera

• The Force of Destiny by Verdi

  Photo credit: Karen Almond / Met Opera

The traditional theatrical aesthetic long cultivated by the Metropolitan Opera is over, as this new production of The Force of Destiny. Mariusz Trelinski places the action in a contemporary dictatorship, evoking both Italian fascism and Putinist Russia. Visually very polished, the show is based on the diversity of the sets, arranged on a turntable which never stops… rotating, without these movements always seeming justified – in particular during the Overture, disrupted by a very long mimodrama and quite clumsy, which takes us through the different rooms of the Calatrava Hotel over which the marquis of the same name reigns. We then discover from every angle a trendy bar where Carlo is looking for his sister Leonora, the road on which she is the victim of a car accident while fleeing, then the convent where she took refuge (act II), a field of sordid battle (act III), a station gutted by bombings, with striking realism (act IV).

Efficiency

These permanent changes of atmosphere give the whole thing an almost cinematographic fluidity, underlined by videos which are not always perfect, like this helicopter ballet worthy ofApocalypse Now to signify that war has broken out. Speaking of ballet, the recurring interventions of six short-dressed dancers, decked out in rabbit masks with oversized ears, bring a touch of triviality that we would gladly do without. Despite these reservations, let us recognize that the production is quite effective from start to finish, the readability of the plot being perfectly respected, the characters and situations drawn with a firm line.

The vocal plateau is dominated by the great Lise Davidsen, who after so many triumphs with Wagner or Richard Strauss, puts his exceptional gifts at the service of Verdian singing. The volume of this soprano is as supernatural as ever, the projection of the high notes phenomenal, fortunately tempered by incessant gradations of intensity and colors which adorn the phrasings with a whole rainbow of feelings and nuances. But do we dare to admit that so many facilities, by depriving this Leonora of an ounce of fragility, prevent her from rising to the heights of emotion to which her most illustrious predecessors have reached?

Dramatic ambiguity

And Brian Jagde seduced by his tone (certainly not very Latin, but it is a fault shared by the entire cast) as well as by his power, this Don Alvaro should further cultivate the art of half-tone to convey the emotional instability of the unfortunate lover. Despite a slightly weak bass, the Carlo d’Igor Golovatenko shows more subtlety, in addition to an insolent upper third and an inexhaustible legato across the entire range. Phrasing with the bow his noble and beautiful bass, Soloman Howard triumphs as both Marquis de Calatrava and Padre Guardiano – this doubling adding an interesting dramatic ambiguity, as if the heroine’s father had been reincarnated in the ecclesiastic who will offer her salvation. Without having the truculence of the most unforgettable Fra Melitone, Patrick Carfizzi thrives in this paying role, and Judit Kutasi distills the imprecations and the “ Beach plan » de Preziosilla of a mezzo that is both full-bodied and agile.

The Met Orchestra remains one of the most flamboyant operatic groups on the planet, as much for its exemplary cohesion as for the excellence of its individualities – each solo is a jewel. Yannick Nézet-Séguin leads it with a firm arm that ignores drops in tension, while ennobling the score with a vast range of delicacies, perpetual variations of pace and dynamics which, over four acts, make the pulse of the theater beat and breathe the great wind of the romantic epic.

The Force of Destiny by Verdi. New York, Metropolitan Opera, March 9. Performances until March 29.

2024-03-11 07:28:00
#York #Force #Destiny #reinvents

The 16th of 2023, Prince Harry and Meghan Markle are in New York with the former actress’ mother. But as they climbed into their vehicle, photographers allegedly tried to pursue them. “The Duke and Duchess of Sussex and Doria Ragland were involved in a car chase with very aggressive paparazzi that could have turned disastrous. This fierce pursuit, which lasted more than 2 hours, gave rise to multiple collisions narrowly avoidedinvolving other drivers on the road, as well as pedestrians and two NYPD officers,” wrote the representatives of the Sussexes. A big scare for the couple.

But a few days later, some did not hesitate to say that the couple had invented everything and that Meghan Markle and Prince Harry had amplified what they had experienced. But now our colleagues at the Daily Beast have obtained a letter sent by the New York police to the London police, in which they confirm that the Sussexes were indeed the subject of a chase “dangerous” in the streets of Manhattan. The police chief writes: “We observed the following: reckless disregard of traffic laws and dangerous and unacceptable behavior by paparazzi during the night in question.”

Meghan Markle and Prince Harry have indeed been prosecuted

Prince Harry and Meghan Markle therefore indeed experienced a very distressing moment. “ The individuals operated vehicles, scooters, and bicycles in a manner that forced the security team, which included an NYPD lead car, to repeatedly take evasive action and take a circuitous route to avoid being hit by pursuing vehicles or stuck on side blocks”. Moreover, proceedings have been initiated : “Our conclusion, after review with the Manhattan District Attorney’s Office, is that we have sufficient evidence to arrest two individuals for inadvertent endangerment.” A document which thus silences the rumors of lies about this chase.

2024-02-29 05:21:54
#Harry #Meghan #crazy #chase #streets #York #finally #answer #Closer