For his debut at the Paris Opera, Wajdi Mouawad tells us about the trajectory of Oedipus, this man who ignores himself, in a continuum of organic images, sometimes vegetal, sometimes aerial or aquatic. He pulls his lanyard, activating some weird mechanism which snaps up his. Despite a triumphant reception, the work was surprisingly rare on the stages during the 20th century. I remember once in Paris he stepped out for cigarettes and the next I hear hes. The influence of Fauré, his master, Stravinsky, Debussy and ancient Romanian musical traditions nourish an orchestral and vocal writing of unparalleled originality. Mind you, Neef’s choice to open with Georges Enescu’s dipe was a leap of faith, too, perhaps an even bolder one. Sophocles' piece has the effect of an electric shock on the Romanian composer who from then on, and even before having a libretto, works on his score, created in 1936 at the Paris Opera. Even so, it is to Mouawad that the Paris Opera’s incoming director, Alexander Neef, of Germany, has entrusted the inaugural production of his new regime. Given the resources involved, this Oedipe. They triggered recollection at certain times and remained handles of memory for a. In 1909, leaving a performance of Oedipus as the King at the Comédie ‑ Française, Georges Enesco hastened to transcribe the first bars of his future and unique opera. The smaller roles are luxuriously cast, from Ekaterina Gubanova’s vocally voluptuous Jocaste to Anne Sofie von Otter’s briefly imposing Mrope. Del Monaco manages some very long phrases and exhibits a rare tenderness. Felsenstein shaped the opera company into a unique establishment.
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