the queen of spades opera

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Not only he did have a strong sense of the ensemble and balancing it in the hall, but he also had command of the dynamic rises and falls, never favoring one section or singer over the other and creating a very strong sense of dramatic cohesion.

Particularly good is Elena Obraztsova's Countess, she is very intimidating and there is a rich fullness to her voice. Tempi fluctuated seamlessly and you just felt like you were in very sure hands all the way through. Even though he had to deal with constant curtains between scenes, he never flagged in having scenes build on top of one another and as such you got the sense of the opera’s increasing darkness taking over from the start with every texture of the orchestra perfectly visible. A massive frame hangs over the proscenium, immediately trapping its characters and society within it.

But then Eyvazov’s ferocious vocal approach returned with a vengeance as he moved to kill himself, only to do a quick turnaround and deliver some of his finest piano singing in the death scene. She retained a strong presence in the Poco più animate section that followed before hushing to the most delicate of piano sounds, which she retained throughout the ensuing repetition of the main melody. Looking for some great streaming picks? It took him just six weeks to sketch it (write the basic ideas). This was particularly chilling in the final scene of Act three with its incessant lower string ostinato haunting Hermann’s entrance into the Countess’ chambers.

But the aria that followed was the true gold, with the tenor holding nothing back. The Queen of Spades: Bolshoi Opera It is rare when four of the Bolshoi's greatest stars appear together in their home theatre in one of Russian opera's masterpieces. The opera was Tchaikovsky's, The Queen Of Spades, (Pique ... 2 of 2 people found this review helpful. (Credit: Metropolitan Opera / Ken Howard). To explore this further, Thompson gives Hermann a black costume for the duration of the opera, putting him in immediate contrast with Lisa’s white as well as the grey of Tomsky, who is shown to be a murkier character from a moral standpoint. Of course, this being “The Queen of Spades,” tragedy comes back with a vengeance with Hermann committing murder.

Any good performance of this opera needs a good Hermann. Then he will be able to marry Lisa.

From here he allowed his voice to build in intensity, the monologue shifting from trivial to suspenseful. He sang the aria with delicate and hushed sounds, imbuing it with a sense of mystery, pulling the audience in. As Prince Yeletsky, Igor Golovatenko delivered a really strong performance. Use the HTML below. Yusif Eyvazov, Lise Davidsen, Vasily Petrenko Shine In Fantastic Elijah Moshinsky Production. This FAQ is empty. The costumes are similarly costumes especially the Countess and Yeletsky's, and the dancing is fabulous. But that changed in the ensuing scene with Lisa where he seemed to be brimming with vocal confidence from the start of that scene, his sound soft and gentle at first and then building as he tried to calm Lisa’s angst, his voice crescendoing beautifully at one point from a G natural whole note into a High A natural. This vulnerability was present throughout the remainder of the performance, with Eyvazov seemingly getting better and better as the night wore on at exploring Hermann’s emotional instability through vocal extremes. “The Queen of Spades” is a truly challenging opera to cast, relying on a top tenor that can navigate a complex role. Dramatically he is right on the money, Herman's descent into madness is very intense. As the Countess, Larisa Diadkova cut an imposing presence in her early scenes, moving about with slow but calculated gestures that emphasized her sense of control. In the closing pages of the aria, he shifted up and down in his vocal temperament, adding to this tension until his voice really unleashed its full potential on the climactic repetitions of “Three Cards,” the final high G blasting into the hall. The concept of Chiaroschuro is amply utilized in his production with the lighting design by Paul Pyant arguably the main protagonist throughout. He was visibly the most involved of characters, seemingly in control of every situation, but also very sensitive to Hermann’s troubles. The opera was Tchaikovsky's, The Queen Of Spades, (Pique Dame). It opens with a choral sequence full of youthful children before moving onto the frivolity of soldiers ranting about card games. He liked the story's themes of love and bad fate. He was even softer on the slow and prolonged repetitions of “Oh God” before building up to the more matter of fact expressions of “Three cards.” The melody’s repetition drew out a graver sound, turning the initial mystery into something darker and graver. Only when he is alone or in an intimate exchange with Lisa, and thus in control of the situation, does he get to occupy more of the center of the staging. Sung In. The opening scenes feature an overall even or flat lighting aesthetic with the contrast mainly explored through the wardrobe by Mark Thompson.

You must be a registered user to use the IMDb rating plugin. David holds a Masters in Media Management from Fordham University. He hides himself in the grandmother’s bedroom. Finally, a good performance of “The Queen of Spades” doesn’t just feature solid singing, but an overall visual immersion that can {…} There are sixteen singing roles: 1. Her display during the pastorale was undeniably her most impressive of the night, the mezzo showing herself very capable of keeping up with the ballet troupe throughout. If not for those highs, this interpretation was vocal elegance embodied. At the Met, Tchaikovsky’s complex storytelling was furthered by Elijah Moshinsky decades-old production. Flanking him are a plethora of other signature roles for two baritones, two mezzo-sopranos, and a soprano. They also made it very dramatic by making Lisa drown herself in a canal and Hermann die at the gaming table. Opera is thriving. Count Tomsky(Граф Томский) — bar… But Petrenko seemed to understand that this opera is all about the emotional contrasts and you really felt that you were being transported into another world altogether. That said her voice did seem to lose its focus in upper ascensions to a G flat and the climactic high A flat near the close of the piece with the vibrato widening and the pitch becoming unstable. Lisa drowns herself. Everyone seemed to be on the same page under his guidance. His repetition of the main melody featured even greater emotional extremes with the baritone starting off softer and gentler before building with greater intensity. With her, the “less is more” concept worked best with the soprano’s more subtle gestures far better suited to her singing. They changed some of Pushkin’s story, making the love scenes important because he thought they would be good with emotional music. This production from Bolshoi is very good and compelling. The consonants were given added emphasis, giving the overall aria a sense of heightened emotional nakedness. Hermann kills himself.

From the first note until the last one, he proved a tremendous collaborator for his artists, every note placed where it should. However, overall dramatically she is rather static, a little too stand-and-deliver and somewhat stereotypical too often. The old grandmother’s ghost comes again to Hermann. Her singing captivated in its gradual bloom to a forte G flat, really giving the audience a sense of its amplitude. As such, he always looked poised and in control whenever he appeared onstage. But he wasn’t immediately at his best and seemed to struggle a bit in warming up to the task.

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