It was the first appearance after the Flare-up of the #MeToo-the allegations against him. Plácido Domingo sang at the Salzburg festival in a concert performance of Verdi performance and was celebrated by the audience pointedly with a Standing ovation. But the charm of his voice is gone.
Salzburg – Sometimes it takes not even a sound. Rather, as in this case, some discordant notes, which are included in any score. Salzburg is sure to Plácido Domingo, although hesitant at the beginning. Prior to the concert performance of Giuseppe Verdi’s “Luisa Miller” is entered, all of the soloists, the stage of the grosses Festspielhaus. An unusual process and a krampfige collegial Demonstration. A few Gala guests, ladies primarily, are collected and subsequently remained alone. But at some point the entire Auditorium: The man was almost, from #MeToo-allegations buffeted, need to be helped. With a Standing ovation.
A comparison and evaluation of the Stars of the question (yet). Apparently, the adrenaline should be out during this performance, which was to the Verdi-cracker. Drama, the thought of large parts of the musical group, the needs of decibels. With Piotr Beczala, from Bayreuth travelled from his Lohengrin, and (because he was previously booked in Barcelona for “Luisa Miller”) is, in effect returned to the Rodolfo, is something good. A stylist with a full-bodied, confident, controlled tones. Beczala, however, was poled as to emphasis, that he turned only occasionally into the Zärteln, the most in the second part of the great Aria. The Rest sounded suspiciously like Radames application.
Twitter launches Video from big round of applause to Placido Domingo great response:
I want a child from you, Placido: audience at @SbgFestival receives #Domingo in #Luisa Miller with a Standing ovation. pic.twitter.com/QlJRUcNoRG
— Markus Thiel (@Markus Thiel news) August 25, 2019
Something more difficult is the case with Nino Machaidze. Eleven years ago, in Salzburg, Netrebko-Einspringerin shot into the spotlight, has taken the voice of a problematic development. All the sounds are there (up on the pump fake, trill), however, frosty, and with a high, unpleasant Acidity. It is also a different, more subdued, rounded in the sound, but discovered the Georgian for themselves and for the listeners selectively only in act two. In the Bass duel was Roberto Tagliavini as the count Walter, a point of victory. John Relyea (worm) will choke at some point in his own tones.
the score
Verdi’s “Luisa Miller,” based on Schiller’s “intrigue and love lost”, works in concert only to a limited extent. Instead of a psychological drama to unfold over a title heroine, who yearns for togetherness with Rodolfo and his father, velvet, jealous employees, worm is knocked out with Gifttod -, drifted everything in the ever-applauded number Revue. Also, because conductor James Conlon was more interested in the robust processing: The Salzburg Mozarteum orchestra has experienced already sensitive. The staff lurched through the Overture, and later it was concise, closed. However, in view of the many festival dates, a diagnosis is simply done.
For Salzburg stay such a concert spectacle of a pretty, cash-grabbing matter. A – in case of doubt, disturbing – Director, office decoration is not needed. The Aficionados come anyway just because of the singer. But then all the positions should be occupied really appropriate, as it happened to Festival-beginning at Cileas “Adriana Lecouvreur” by Anna Netrebko. Which brings us to Domingo.
Originally is geraunt, he reclaims the title role in Salzburg’s “Simon Boccanegra” for themselves. As the decision-makers refused, there was the Luisa’s father Miller as a compensation. Domingo, officially Born in 1941, must be one of: The voice, now a baritone demoted, still has presence and load carrying capacity. However, where there is a small piece where more is asked than a temporary drama, because it is difficult. Short of breath the Star, to become phrases-curvature is hardly to be thinking of more. Much of it sounds loud and blunt. The Cabaletta is suffering completed and endangered. In the first final, he gets lost a little in the score, and later, under the mistakes. What defines, therefore, a close: – Assign Yes – but not necessarily because of the #MeToo-Aufregers.
Additional performance on December 31. August; Phone 0043/662/8045-500.
also read: US Opera houses to tell a series of concerts with Plácido Domingo
Multiple singers and a dancer in front of the Opera star, according to a report of sexual Assault. Responds with an opinion and acknowledges that they have changed societal rules. The Star rejects the allegations of sexual Assault.
