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Werther

Werther

2005-11-05 (20 ساڵ و 9 مانگ و 18 ڕۆژ لەمەوبەر دەرچووە) 0.0 1 بینەر 144 خولەک بۆ خێزان گونجاوە
Music
The production was the Vienna State Opera debut for the young Swiss conductor Philippe Jordan – the Argentinian tenor Marcelo Álvarez, took the title role. His Charlotte on this occasion was the young Latvian mezzo-soprano Elīna Garanča. Her performances have been enthusiastically received and she has already been labelled as the new mezzo wonder. Staged by internationally sought-after Rumanian director, Andrei Serban, the apparently sentimental love story – normally presented in 18th century period costumes - reveals a study of personal relationships and a close observation of a woman, who comes of age too late. Serban’s aim was to rid the opera of the unjustified reputation of banality that clings to it despite its underlying tragic mood. By setting the production in the stiff, claustrophobic atmosphere of a small town in the 1950s, he aimed to make the audience more aware of its deeper levels of self-denial.

دەرهێنەر

Andrei Serban

باری بەرهەم

ئازاد کرا

تەنها تریلەر

لە دەرەوەی عێراق تەنها تریلەری فەرمی بەردەستە.

وڵاتی دۆزراوە: US

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تەنها تریلەر

US

کۆمێنتەکان

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بچۆ ژوورەوە بۆ هەڵسەنگاندن، بەدڵبوون، پاشەکەوتکردن و کۆمێنتکردن.

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هاوشێوەکان

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Werther

Werther

بەرواری بڵاوبوونەوە: 5ی تشرینی دووەمی 2005
0.0 / 10
ژانەر: مۆسیقا
ئەکتەرە سەرەکییەکان:
Marcelo Álvarez
Elīna Garanča
Adrian Eröd

کورتە: The production was the Vienna State Opera debut for the young Swiss conductor Philippe Jordan – the Argentinian tenor Marcelo Álvarez, took the title role. His Charlotte on this occasion was the young Latvian mezzo-soprano Elīna Garanča. Her performances have been enthusiastically received and she has already been labelled as the new mezzo wonder. Staged by internationally sought-after Rumanian director, Andrei Serban, the apparently sentimental love story – normally presented in 18th century period costumes - reveals a study of personal relationships and a close observation of a woman, who comes of age too late. Serban’s aim was to rid the opera of the unjustified reputation of banality that clings to it despite its underlying tragic mood. By setting the production in the stiff, claustrophobic atmosphere of a small town in the 1950s, he aimed to make the audience more aware of its deeper levels of self-denial.

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Ameer Xoshnaw