Symbolism In Cyrano De Bergerac Video
Cyrano de Bergerac Summary Symbolism In Cyrano De BergeracThe music Bergegac excellently performed by the orchestra and the singers. The star was Oliver Sewell as Don Ottavio — a beautiful voice. The highlight of the opera was undoubtedly the direction from Sara Brodie — creative, innovative, and subtle. And the ultimate demise of Don Giovanni will live with me for a long time! The direction was sublime — more about later.
On the surface is it so classically proportioned, delicately crystaline, candidly courteous — the dramatic moments are always tempered with an apologetic context. Underneath there is so much detail, musical definition, and exacting precision. So — when the orchestra began the opening chords of the overture, I was captivated by the energy, the robustness and the precision of their playing. It was a Classical Orchestra, almost a chamber orchestra, but they were superbly balanced. Then, the director stepped in. When the tempo picked up, the curtain rose and we Symbolism In Cyrano De Bergerac treated to a mime show of Don Giovanni invading Bererac Anna house. Obviously, this was not an ordinary version of the opera!
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The overture proceeded at a cracking pace. Then, the singing commenced…. Paul Whelan [Commendatore] has a physical presence and a stentorian voice to match. All of the ensemble work: the duets, trios, quartets, quintets, sextets — were impressive.
A personal review of concerts and events
Masetto and Zerlina had brilliant voices and their arias were outstanding. But the voice that impressed me most was Oliver Sewell [Don Ottavio]. His voice was beautiful — well rounded, covered, accurate in intonation, diction, dynamics. His breath control was phenomenal and it seemed effortless.
His solo arias were a highlight. I was interested how the voices responded to the orchestra. In the recitatives, there was not a problem at all. I the aria — solo, duet, trio, quartet… began Symbolism In Cyrano De Bergerac and the orchestra was tutti, the voices responded differently.
For example, Christian maintained his tone consistently, but consequently, he could be drowned out, especially when he was upstage. Amelia had no such problem when the orchestra was in full flight. Her range and her volume was awesome, but sometimes it was overcompensating and her intonation suffered. Some times their role was quite demanding — stock still, in some ungainly poses, as statues at the cemetery for example!
The orchestra was conducted by Matthew Ross. He did a fine job, with crisp tempos and finely crafted phrasing.]
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