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  • Years:
  • 25
  • Ethnicity:
  • Welsh
  • Color of my iris:
  • Lustrous dark
  • My Sign of the zodiac:
  • Pisces


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As it is, this was a long evening which, despite some striking images, thrilling playing and superb singing, proved only intermittently involving. Super stars: musical riches in Munich's new Tristan und Isolde. Don Giovanni. But that in some ways suggests something more concrete than what we get from Castellucci. Hearts of gold: La fanciulla 's soft centre shines through in a gritty Staatsoper staging.

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An astonishing performance by Asmik Grigorian is central to the Italian director's disturbing reading of a disturbing opera. Nadezhda Pavlova is the pick of the women as a fearless and exciting Donna Anna, and Federica Lombardi is an intense, involving Donna Elvira. A work deed to be performed in church has become a dramatic music theatre event that captured and held me enthralled throughout in a meditation on both death and life.

Hugo Shirley is a Berlin-based writer and musicologist.

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Nadezhda PavlovaDonna Anna. By Hugo Shirley06 August See full listing. Cindy Van AckerChoreography. Michael SpyresDon Ottavio. In the climactic Supper Scene, though, Giovanni is left alone as he sinks into his own private hell, stripping naked and writhing around in white paint.

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for conditions of use. Piersandra Di MatteoDramaturgy. Federica LombardiDonna Elvira.

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Mika KaresThe Commendatore. He creates instead a resolutely abstract world of the imagination, casting everything in a hazy light all the action takes place behind a gauze. A feast in times of famine: Berlin Philhamonic's Covid experiment is a musical triumph.

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The men are dressed in white, with suits for all of them apart from Don Ottavio, who is burdened with a series of bizarre costumes, including that of a Norwegian polar explorer replete with poodle β€” one of a handful of live animals that make an appearance.

It was always going to be a tantalising prospect: provocative director Romeo Castellucc i and bad-boy conductor Teodor Currentzis coming together to stage Don Giovanni at the Salzburg Festival. More by Hugo Shirley.

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He has written widely as a critic, including for The Spectator, the Financial Times and Daily Telegraph, and has held editorial posts at both Opera and Gramophone. Events Reviews Articles Video.

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Vito PrianteLeporello. Teodor CurrentzisConductor.

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Davide LucianoDon Giovanni. Christian ArseniDramaturgy. The women are afforded a little more colour.

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Related articles. All rights reserved. David SteffensMasetto. Anna Lucia RichterZerlina.

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His single set is the white interior of a church that, before the overture starts, is relieved of its statuary and art works; it is covered in drapes for most of Act 2. Hugo Shirley. Read reviews of. Numerous extended fortepiano interpolations β€” often stylistically anachronistic β€” overstay their welcome.

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In interviews in the run-up to opening night, the pair set out something of their vision: Currentzis would showcase his idiosyncratic idea of musical authenticity, while the Italian director promised to dig deep into the myth of the character and incorporate women on stage to underline β€” and avenge β€” the horror of his empty, heartless notching up of conquests.

It presents us, admittedly, with a tour de force from Italian baritone David Luciano, but is too little too late in terms of injecting the production with any drama. Finnish bass Mika Kares makes for a fine, imposing Commendatore.

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MozartDon Giovanni. Our privacy policy was last updated on Friday 31 January View it here Dismiss.

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Marco GiustiLighting Deer. Theresa WilsonCostume Deer.

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Agriculture Secretary Dan Glickman, center in tie.


Fernando Lombardi.


The show's success has resulted in similar spin-off series based in Chicago and Compton.


There are many facets to Mozart and Da Ponte's trilogy of operas, many facets of human behaviour that can be explored in them, universal traits that provide no easy answers to questions that on the surface can appear - and be played - as comedies but which underneath touch on some very disturbing subtexts.