20 years after its very first performance, which took place at Teatro Regio di Torino, La Bohème returns to the tradition-steeped Italian opera house. With director Àlex Ollé from La Fura dels Baus and music director Gianandrea Noseda the Teatro Regio presents a spectacular, up-to-date anniversary production. For Àlex Ollé, directing the opera for the first time, “La Bohème allows the young generation to get rid of everything that prevents them from flying, feeding only on their own vitality; the real hunger of the protagonists is the hunger for life. My production is set in a modern city outskirt. It is there where, in my opinion, the intellectual matrix of the future happens; in ugly, disreputable and poor places which are authentic. In this kind of environment, where life and art – as they did in Romanticism – belong to the survivors.” “A triumphant youthful Bohème”, in which the singers excel due to their naturalness. Giorgio Berrugi sings his Rodolfo “with a luminous timbre, in refined nuances” (La Stampa), perfectly matching “Irina Lungu’s full-bodied Mimì” (The London Times). All in all, “this is theatre, this is life, this is passion” (Corriere della sera).
I due Foscari
In his ‘new life’ as a baritone, Plácido Domingo has triumphed in the role of Francesco Foscari in Los Angeles, London and Vienna. Now he takes to the role to La Scala, Milan, the theatre that is the symbol of Italian opera. I due Foscari, premiered in 1844, famously one of Verdi’s darkest operas, is staged by Alvis Hermanis, who made such an impact at the Salzburg Festival with “Die Soldaten” and “Il trovatore”. Domingo is joined by two of Italy’s most exciting singers, the soprano Anna Pirozzi and the tenor Francesco Meli, and the acclaimed Italian conductor Michele Mariotti. The Financial Times was deeply moved by Domingo’s performance, calling his interpretation of the role “sublime”.
BONUS Ioan Holender interviews Plácido Domingo on the occasion of I Due Foscari at La Scala in Milan
Carmen
Georges Bizet‘s captivating music with its Spanish sounds took the world by storm: Carmen‘s Habanera and Seguidilla, like Escamillo‘s Toreador‘s Song, are known to one and all. The French composer‘s most successful opera is staged at Bregenz with a set designed by British artist Es Devlin. She has designed sets for pop stars like Adele, U2, Take That, the Pet Shop Boys and Kanye West. In collaboration with the stage director Kasper Holten, Director of Opera at the Royal Opera House in London, she has also worked at opera houses in Helsinki and Copenhagen, at the Theater an der Wien and the Royal Opera House Covent Garden. For the Danish stage director, this “opera about destiny and obsession” centres on “two people who are treated as outsiders, whose paths cross and who cling to each other in a passionate but unhealthy relationship”. „The whole ensemble deserves a floor-deep bow.” Der Tagesspiegel
„In terms of sound and, above all, visual finesse, the Carmen in Bregenz is opulent … and brilliant opera show.“ Wiener Zeitung // „The lake-stage in Bregenz is a venue for theatrical spectaculars, and Kasper Holten’s production of Carmen on Es Devlin’s extraordinary set was a knockout.“ The Telegraph // „The French singer Gaëlle Arquez proves to be a lucky find. Not only her massive, shimmering mezzo-soprano is convincing, but her high-quality acting skills as well.” Salzburger NachrichtenNachrichten