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| | | | | “The Kolobov Opera Choir, well-rehearsed and with perfect intonation, sounded reminiscent of Russian- Orthodox church choirs.
Conducted by Jan Latham- Koenig, the Kolobov Opera Orchestra poignantly emphasized the dramatic events, the opera’s many changing emotional climates, and competently contributed the sweeping dance rhythms”. «The Jerusalem Post»
2 October 2013 “Russian opera values its traditions, whose musical and vocal elements provide this show with much of its quality, yet Alexandrov's staging, designed by Vyacheslav Okunev, remains a visual curiosity whose idiosyncrasies are sometimes unintentionally comic. ” The Guardian
2 April 2014 “Alexandrov’s production is ‘traditional’ in whatever sense you wish to take the word. It meant the chorus was static for a lot of the time and the main singers were left to adopt ‘park and bark’ performance technique, apart from some awkward cavorting between Vladimir and Konchakovna in their Act II tryst. However, a lack of frenetic stage action allows more focus on the singing and the Novaya didn’t disappoint. How glorious to hear a Russian chorus in full cry, basses plumbing the subterranean depths!” Bachtrack
2 April 2014 “You could say that it was ideologically naive in its refusal to explore the text’s dodgy Slavist implications, but the show has a winning sincerity of its own, and given the singers’ wholehearted conviction, I found its innocence beguiling. Sergey Artamonov, looking like John the Baptist, radiated troubled nobility, and Elena Popovskaya wallowed gorgeously in his wife Yaroslavna’s lament. ” «The Telegraph»
2 April 2014 “By ending the opera not in triumph but with the unaccompanied elegiac chorus mourning Igor’s defeat – he takes a stance, close-focusing Igor’s nobility fortitude rather than portraying him as a virtual anti-hero. <…> The orchestra, under the inspired direction of Jan Latham-Koenig, is outstanding, matching what is overwhelming overkill for the eye with a lustrous and dynamic charge”. «The Times»
3 April 2014 |
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