Mainly Opera and Ballet
In many operas we are watching life, yet see death. In this one we are watching death, yet see life — a remarkable turnaround facilitated by a fantastic match between music and libretto. Austrian composer Georg Friedrich Haas draws on the avant garde tradition of his homeland in producing a musical language that uses microtones …
W. S. Gilbert, the librettist for this work, was a master of wit, not just on paper but spontaneously in conversation. When a neighbour referred admiringly to Ruddigore calling it Bloodygore, Gilbert objected, so the neighbour said: “Same thing isn’t it?” WSG was swift as a rapier, “If I admire your ruddy countenance, it doesn’t mean I …
Renée Fleming … performs here with consummate skill and brilliant characterisation, very ably supported by Lawrence Brownlee as Rinaldo.
Unfortunately [Domingo] was unavailable, but his replacement, Kurt Streit sang [Bazajet] superbly — one could not have asked for better.
This is definitely worth a visit to see the eclectic style of choreography, and the dancing of Rojo, McRae, and Franzen.
Placido Domingo was wonderful as Bajazet, full of emotion and determination, and Monica Bacelli was superb as Tamerlano, looking and acting the part in the way Handel surely intended.
