She made her Bavarian State Opera debut in the title role of Lucia di Lammermoor, her role and house debut as Elisabetta in concert performances of Roberto Devereux at Oper Frankfurt, and also returned to the Komische Oper Berlin as Pamina in The Magic Flute. Zaharia returned to the Deutsche Oper am Rhein ensemble where her roles included the title role of Lucia di Lammermoor, Konstanze in The Abduction from the Seraglio, Gilda in Rigoletto, and the dual role of Fire and the Princess in Suzanne Andrade’s new production of L’enfant et les Sortilèges. It was not what polite society was used to seeing at the opera.She made her LA Opera debut in 2018 as Gilda in Rigoletto.In the 2017/18 season, Ms. ![]() Audiences were scandalized by the way in which Carmen toys with the men around her as Don José, an army corporal, and Escamillo, a toreador, literally come to blows as they fight for her affections. The first few outings for Carmen, which premiered at the Opéra-Comique in Paris on 3 March 1875, were not exactly what one would call a success. The moment Bizet’s heroine sings the first few notes of the Habanera, the aria with which she announces her arrival on the scene, one knows immediately that we are in a world light years away from the comedies, historical melodramas and affairs of the bourgeoisie that had been the mainstay of nineteenth-century musical theatre.įor French audiences of the time, Carmen, full of lowlifes and smugglers, would have been as distant to them as the mythological epics created by Bellini, Berlioz and Wagner. Georges Bizet’s Carmen was as radical a departure from the established traditions of opera as any single work in the history of the genre.
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