Moshe leiser biography of michael
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Review: Madama Butterfly, Moshe Leiser and Patrice Caurier (dirs), Royal musikdrama House, London, 26 March
Review: Dancing Dutch, varm Nationale Ballet, Nationale musikdrama & Ballet, Amsterdam, 11 April
Gregory Sporton Review: Dancing Dutch, Het Nationale Ballet, Nationale Opera & Ballet, Amsterdam, 11 April Scene. 12 (), pp.
Review: Medea, Dominic efternamn (dir.) (), Robinson Jeffers After Euripides, Soho Place Theatre, London, 16 March
Sporton, G. Review: Medea, Dominic efternamn (dir.) (), Robinson Jeffers After Euripides, Soho Place Theatre, London, 16 March Scene. 11 (), pp.
Review: The Red Shoes, M. Powell and E. Pressburger (dirs) (), 75th Anniversary Release, UK: Archers BFI Southbank, London, 29 November
Sporton, G. Review: The Red Shoes, M. Powell and E. Pressburger (dirs) (), 75th Anniversary Release, UK: Archers BFI Southbank, London, 29 November Scene. 11 (), pp.
Artistic research: Methods that work
Gregory Sporton and Natalie Álvarez Artistic research:
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History
Other highlights in Pappano’s first decade with The Royal Opera included Shostakovich’s Lady Macbeth of Mtsensk, directed by Richard Jones, Peter Grimes, directed by Willy Decker, Carmen, directed by Francesca Zambello, Don Carlo, directed by Nicholas Hytner, and Tosca, directed by Jonathan Kent, replacing the Royal Opera’s long-lived Zeffirelli production from , which had starred many famous guest artists of the company, starting with Maria Callas and Tito Gobbi. Another Zeffirelli production, Pagliacci, starring Plácido Domingo, was conducted by Pappano in the /03 Season. Domingo was also the star of Alfano’s Cyrano de Bergerac in , and took part in the Ring cycles. The extensive number of operas conducted by Antonio Pappano since his appointment have included Aida,Un ballo in maschera,Don Giovanni,Falstaff,La fanciulla del West,Fidelio,La forza del destino,L’Heure espagnole,Gianni Schicchi,La Gioconda,Madama Butterfly,Le nozze di • The portents for this Madama Butterfly were highly promising: an effective, if sparse production, with a devastating final scene; a reliable Italian conductor in the pit; and a fine soprano, who made her House debut in this very role. It was in that Kristine Opolais stepped in for an indisposed Patricia Racette and wowed London audiences as Cio-Cio-San, the teenage bride bought by US naval officer Pinkerton. Her return to Moshe Leiser and Patrice Caurier’s sepia and cream production, revived by Justin Way, was eagerly anticipated. Yet despite a nuanced, dramatic performance, I left slightly underwhelmed. After the decorative opulence of the recent in-the-round staging in the Royal Albert Hall, or the sleek, lacquered Anthony Minghella production at ENO, Christian Fenouillat’s set is simplicity in itself. A twist on the traditional Japanese construction of sliding shoji pape
Clattering cherry blossom: solid revival of Madama Butterfly at Covent Garden