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| | | | | “The name Maddalena refers to the biblical story of a sinner who became a saint, and this transformation can in principle be shown in music. But the director decides against following this beaten track: his heroine remains an untransformed sinner, not like the restless Salome, but rather like the hedonistic Carmen, who wasat first bored, like Katerina Ismailova, but then (for this once) had a stroke of luck.<…>
Stage director Alexey Veiro does not overuse upstanding arias, close-up scenes or intricate poses – all of this is there, but in moderation, just enough to avoid fuss and bore. The director, however, is not willing to label the characters, letting the public do this. ” Operanews
May 16, 2016 “The sets take the spectators to the 1920s-1930s, with Constructivism prevailing in architecture: the characters suffer and die in a white wood-framed house assembled of numerous rectangular plates. Impenetrable darkness shrouds the sets, and vague figures dressed in black are circling around. Contrast is made by a red lighthouse and Maddalena’s scarlet skirt. The depressing atmosphere is accentuated by the heroine’s phrase “I’m sick and bored”. Vechernyaya Moskva
May 4, 2016 |
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