"Artaserse" ( 1730) by Leonardo Vinci.

Dear friends!

The premiere was amazing!!!!! The cast is great.
Absolutely incredible wonderful staging - crazy, funny, dramatic, full of feelings and action!

Do you want some spoilers????

Yeeeees, pleease!

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Many, thank you very much, Pilaretta, your Italian-english is also precious and indispensable to understanding Felipe![You must be registered and logged in to see this image.]


JaRoWi, you were at the premiere? I'm so happy for you!. Please, we need your photos, please![You must be registered and logged in to see this image.]

Thank you all for all informations and translation.
I think I am well prepared and more than ready to see this on 10th nov.

Joanna

His Majesty ! ( And Her Majesty in soon )

Rosamunda

Yes, I was there . But I haven´t any " stage" - photos, sorry.

Pilarddcc

Ok, I´ll write a short review a bit later, I need some time to " recover" and to arrange my feelings into words ( in English, ahy me )....


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M.-E. Cencic (Mandane), V. Barna- Sabadus ( Semira) , Yuriy Minenko ( Megabise) , Franco Fagioli ( Arbace) , Philippe Jaroussky ( Artaserse), Juan Sancho ( Artabano ).

Joanna, Philippe seems completely Louis XIV!. I hardly recognize...[You must be registered and logged in to see this image.]


JaRoWi, very, very spectacular cast!

Take the time you need, but write a long review, long and very detailed.... please.

SJuli,

Thanks very much for the link but I'm afraid it still doesn't work. I probably need to upgrade my PC. I reckon these internet service providers use me as a yardstick, their rationale being "If a techie dimwit like Artemis can handle it, it's obviously far too simple, so let's upgrade!" However, Pilar, being an has offered to send me an mp3 thingie.

Pilar,

Thanks for the translation - my Italian is good but probably not that good! I look forward to hearing Philippe speaking fluent Italian - every time I think I'm cured of my madness, the wretched man comes up with yet another reason for me to love him ...

Jana, Joanna,

The photos are wonderful. Yuri looks very impressive in his "Genghis Khan meets a Samurai outfit"! Just one small question - wasn't Daniel Behle supposed to sing Artabano? Is he sick or just not taking part in the tour?

Jana,

Yes, please, a review!!

A.

Pilarddcc, thank you very much!!! —
Jana — thank you too!!! —

What a stage!

Some appetizers from Nancy, may be watched without being registered...

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Great photos, Duffy. Thanks.

In those huge, white, full-bottomed wigs, the boys look like characters out of some bawdy Restoration comedy with silly names like Sir Henry Poxy-Foppington or Lord Hellrake (no doubt on excellent terms with a certain John Wilmot) ...

A.

Yes, yes, Artemis, the Second Act is totally a Restoration comedy, quite grotesque, refined and silly.[You must be registered and logged in to see this image.]

But if the protagonist is Lord Jaroussky ...[You must be registered and logged in to see this image.]

Here, I try to express the very small part of my feelings. Sorry for my terrible English.


... theater backyard , dark side of life, skeletons of scenery, a proscenium frame – two little makeup- tables – something real, as islets, refuges from the illusive world of behind the stage. In the middle of a scene – a round spinning disk - maybe a labyrinth of destinies, maybe a target. The black subfloor with semierased patterns, huge panels rushing about here and there with sepia photos of falling columns of former greatness – a screen and a background to this event.
To the sounds of ouverture appear the actors in black T-shirts and dressing gowns, already white powdered and rouged, friendly welcome each other and wish good performance. Round them – «workers of a scene» here and there correcting surroundings, also white powdered and actively participating in the future action. Big hands of Maestro Fasolis majestically wing over the orchestra, he conduct also even with his head if the hands are busy for play cembalo.

All the personages become a transformation while the opera, and you can´t be sure if even very this moment is a play or – the reality. It is like a play in a play, like a game and the dark costumes are true while the white- golden stuff – only shine, a playful sarcastic parody on a fine society, or a reflection of themselves in one different way of view.
The „agitato „ – arias were singing while moving on the rotate disc , against the stream. Desperate Artaserse ( with his white night shirt ) runs on this disc as the devious Artabano sings his aria „Su le sponde“, distracted clutching his head and totally helpless. He is the first who changes his „ image“ totally - instead oft the innocently white shirt he wears the black and heavy „ war- armour“ with a feathered helmet . Another change become the really innocent Arbace as he get imprisoned - suddenly he appears in a white- golden justaucorps, breeches and fine shoes with buckles – that ist the first „ sign“ for the second act where all the guys look like „ The Man of Mode“ Sir Fopling Flutter himself or the pale cast shadows of the Sun King in one of his ballets.

It is absolutely necessary to give a deep bow to all the Actors- despite of a heavy makeup they acted perfectly well, lively, expressive and passionate. The brillant Franco Fagioli I saw and heard for the first time and I was stunned about his extraordinary actor - abilities, virtuosity in his voice- he gives odds to all primadonnas together and even with the considerable superiority, especially in „ Vo solcando un mar crudel“. Juan Sancho was also very advantageous for the perception of Artabano´s image - with the masterly kicks of his voice to the countertenor´s top he made this bastard really hystericall and thirsty for power . It ´s very important to note - how careful and tasteful made Valer Barna- Sabadus his role of Semira. His round and velvet voice, his graceful and a bit slowed down movements, his soft flying gait feautured the delicate Semira in the best way.
Mandane- the strong heroine, ruptured between a debt of honor –to revenge her father – and love to a "criminal", is also incredible truthful played by M.-E. Cencic. Megabise - the very charming villain – is perfectly portrayed by Yuriy Minenko ( yes, in a „ Ghinghis Khan „ costume! ) captured also the audience with his elegant masculine charm!
Well, and our Prince Artaserse – desperate , diffident and somehow very desolate hero ( except his playful acting in the second and the beginning of the third act) who has made himself cruel for the sake of the illusive purpose of vengeance, suffering a remorse and vainly trying to escape from this vicious circle in which it is already not clear – who is the friend and who – the enemy.

Bravissimi tutti!

A review of the german newspaper "Die Welt" from today:

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If some of you want a translation, I'll do it.

And another review of the French newspaper "La Croix":

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Also in french
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Great review, Jana. I look forward to making the acquaintance of Sir Fopling Flutter and his cohorts.

Rikkapijemy and Rosamunda - Thanks for the press reviews. On the whole, the production seems to have been given the French seal of approval, with a few reservations about Purcarete's staging ...

A.

One more:
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And another:

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Artemis

Thank you.

You can be sure, it will be unforgettable meeting . And quite differently from the CD - version !

I´d add that now, especially after this production it is finally definitely irretrievable proven that the countertenors are not more the „ business competitors“ for mezzos – and- sopranos in trousers but the most confident and self-sufficient artists in their own right with bravura, brilliance and virtuoso beauty .

P.S.

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Contains many more things than you imagine!!!:
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Hello !
After the complete Jana's report, I won't try to do the same in worse because of my bad english. I'll just add a little moment which was very moving for me during this Artaserse on sunday 4th november.
It was the magical moment before the entrance of the orchestra. If you wasn't attentive, you could not notice that Philippe, Max and the other singers were on stage because they were on some little dressing-rooms on the corners of the stage. I was very high and far from the stage but...I fortunately had some binoculars ! So I could look at Philippe during his make-up. It was for me very moving because usually it's a private moment for the singer, a moment where he concentrates. I know, of course, that it was a choice of production but I appreciated this game on reality and apparence. I could notice, too, that Philippe was reading again his score before the beginning. And Max Emanuel Cencic has comed to speak with him. Looking at these two incredible counter-tenors joking together was a real pleasure for admirers like me !

Very true Note Sensible! I also saw the score, he was reading it also this week! I will try to write my own impressions for you, but I am still dazzled [You must be registered and logged in to see this image.]

I understand ! I'll be very patient, no matter !

NoteSensible,

thank you for your report. I must disappoint you - he only makes a pretence of doing his make- up on stage , that is a part of this play. In real that kind of make-up takes much more time, so they were already prepared. Though, very engaging view...

I know, but I've loved this game on what you can see and what you can't see (if you understand with my english) and it was touching to approach this moment, even if it was a choice of production.

A very good review:

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I´m really less afraid to write my small review after Jana´s one, so I´d like to share my few reflections.

Despite of the quite modern accessoires , this staging kept the tradition of Baroque performing and scenery : the immediate changing of the backgrounds, composition of the mise-en-scène, the movements and acting with that kind of maquillage .

The voice of Valer Barna-Sabadus - lush and dark , a bit dangerous I ´d say – Artaserse´s future wife could be an very strong and powerful Empress. His acting is movingly convincing, graceful and touching.

Max Emanuel Cencic is an acknowledged master of metamorphosis and here we have experienced one more of his formidable performances as an artist as well as the productions- leader.

Yuriy Minenko´s voice - juicy and bright in a very maskuline manner . Moreover he is an really handsome man. I´m not sure whether I could withstand him in place of Semira.

Juan Sancho I saw once in „ Incoronazione di Poppea“ and I ´m sure, he has an promising future. An very good actor , who put himself in the shoes of his personage with a lot success.

Franco Fagioli was a revelation for me, really. He is an excellent, amazing singer with a delightful sense of humour in his movements and acting.

Philippe Jaroussky – light, sensitive and tenderly innocent at the very beginning, pictured also with his „ white“ appearance as well as his „ ghostly dancing“ with Semira, scarcely touching the ground just as well as each other hands. He becomes more dramatic and resolute , growing up for the reasons of revenge and friendship, acting and suffernig between fragility , love, treason and atonement.
Perhaps the second role vocally , but definitely not emotionally – the range of inner disunity is much more defined even in this character, marvellous expressed by Mr. Jaroussky.

So , that was an luxurious opportunity to take a look behind the curtain of a play in a play and of one „ Making of“ in the same time. I enjoyed it .

BTW, this is the picture used for the background- panneau:

Monsù Desiderio (François de Nomé and Didier Barra from Metz) ca.1630
„King Asa of Judah Destroying the Idols“.

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i've find this link, it's the first act
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They are two more

The whole opera is conceived as real baroque
work of art. The artistic directors/designers or whatever they were called did
a great work trying to evoke a baroque show, even if they mix up a bit
different kind of iconographic models. I don’t exactly understand why they use
a renaissance labyrinth and not a baroque one, but I can guess the reasons
behind. They have chosen a José Ribera painting, another baroque painting (Monsú
Dessiderio’s one) about an explosion in a church and some different sort of
visual references in order to create their idea of Baroque, and even if I think
they could be more accurate from the historical point of view it worked so well!!
I loved the idea of putting some “members” from the theater’s staff as a
support in the scene, it was like telling us: this is only a fake, this is pure
artifice! And that’s Baroque! It’s an intellectual creation! I enjoyed so much
watching how the singers became their own characters in the opera. I really
like this idea of “Working in progress”, it was very effective. [You must be registered and logged in to see this image.]


The central platform with the labyrinth was a
great idea. It was uncomfortable for the singers but it was very
graphic/visual, when it started moving you know the aria was going to start and
it conveyed the idea of stress, dynamism when it was necessary for the
comprehension of the story. The moving panels were also great to express the
movement, to change the scene and to keep it dynamic!


The costumes were a mix between some sort of drag
show and real baroque, they evoke the castrati’s dresses in a very effective
way. In some parts of the opera I was totally fascinated about how they
transform the singers into real baroque castrati. The fact they wear such
complicated costumes and make-up kept us in touch with the artificiality of
baroque, it’s like a play or a send-up with really went so well with the music.
This is the whole point of Baroque to create something which dazzle the
audience from every possible point of view: visual, hearing and if you can add
any other sense, the more the merrier! Baroque is a festival for the senses and
baroque opera is the finest manifestation of that. Maybe if you would have
attended to a mess at the “Il Gesù” in Rome in the XVIII you would feel
something similar, Jesuits are great drama creators!


The singers:


Megabise: He was the lucky one with his
costumes in Tamerlano style. His “Ardito ti renda” was amazing because the
audience could enjoy the power of his voice and the whole poisoned potion
thing. [You must be registered and logged in to see this image.]


Artabano: Juan Sancho was such a discover for
me. His voice was so powerful and different from the others and I loved his
acting. He was really a bad bad father and friend, gorgeous villain! I think
the audience was quite unfair with his singing, most of his arias were great
but “Non ti son padre” was fantastic and “Amalo e se al tuo sguardo”, was
simply amazing, my favourite one!!
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Mandane: Cencic was as accurate and flamboyant
as ever. Even if for me it was difficult to see him as a woman, he actually
acted great. His arias were especially written to show-off and he succeeded as usual.
I loved so much his “Dimmi che un empio sei”, which he showed the powerful carácter
Mandane has. His last duetto with Arbace was pure delight as well as “Da un
amor tiranno”. [You must be registered and logged in to see this image.]


Semira: The biggest surprise for me. After 10
minutes I completely forgot about she being a he. Valer was just perfect, in
the CD I didn’t like so much but in scene he was great. His voice was soft and
warm, the most feminine one. His arias were not the most beautiful ones but I
enjoyed so much “Torna inocente” and “Bramar di perdere”. [You must be registered and logged in to see this image.]


Arbace: Fagioli is a true show-man, maybe too
much histrionic for me but for Arbace’s character he was just splendid. His voice is out of this world, pure
acrobatics, my only regret is that he doesn’t touch me enough. I mean, I was
amazed by his range and his high notes as well as his low ones, but…maybe he is
too much artifice for me, I don’t know. In “Vo solcando” I felt overwhelmed by the
beauty and the whole baroque paraphernalia. The scene was conceived as a
send-up but even though I thought it recreated amazingly the castrati’s realm!!
Fagioli was totally into this character and his singing was superbe!! [You must be registered and logged in to see this image.]




And getting to the real point… [You must be registered and logged in to see this image.]


ARTASERSE-FELIPE: His acting is far too good to
be true, I can’t understand why he doesn’t feel like that. His Artaserse was a
very plausible confused son, totally in love with Semira, loyal and honest
friend, betrayed and indecisive, and royal and merciful at the end. He enacted
a great “galleria degli affetti” in his character. His costumes were quite
better that I was expecting, since it seems that the poor thing has always someone
who hates him in the dressing room! [You must be registered and logged in to see this image.]


In the night gown he sang the beautiful “Bel idolo
mio”. That aria was impregnated by such a sadness and sweetness that the
audience remained in a admired silence for a while after he ended… [You must be registered and logged in to see this image.]


In his second “dress”, even with those spines
and feathers he looked amazing, totally in pain after sending his brother to
dead and betrayed by Arbace. When he sang “Deh respirar lasciatemi” I was
myself about to die…he was simply superb. I love that aria is very particular
and very different in the whole opera and he rendered it showing how disconcerted
and indecisive was laying into the stairs! People was quite cold, he should
have received a warmer applause. [You must be registered and logged in to see this image.]


The second act started with “Rendimi il caro
amico”, one of the best moments. He actually rendered it with such intention
that it seemed more a declaration of love than a desperate plea for his friend.
He was absolute gorgeous with his Louis XIV dress and in his “Non conosco tal
momento” he addressed the public with a strong intensity talking about pieta that
it is impossible not to feel moved. His last aria “Nuvoletta” even if it si not
the most beautiful one he explores his comical side, especially after his delightful
pantomime with Arbace minutes before! [You must be registered and logged in to see this image.]


Artaserse’s arias are not the best ones in the
opera but Philippe did an amazing job, he actually knew how to make them look better
and it was a difficult task since Arbace’s a Mandane’s were just jewels for a
singer. He succeeded far beyond I could imagined before seeing the stage, his
voice was pure and crystalline and full of nuances. Great diction as usual! Philippe’s
voice was a delightful contrast with Fagioli’s, the Argentinean was far too
much affected and theatrical, he found a great balance between the comical and
the tragic!!


The end was just excellent, I was without
words!! That glitter and feathers apotheosis was just perfect, a banquet for
the senses!!! [You must be registered and logged in to see this image.]


I think the whole idea was Cenci’s so I have to
say: WONDERFUL WORK MR. CENCIC [You must be registered and logged in to see this image.]


Of course the Concert Köln and
Fasolis were excellent!

Thank you, Pilar!

Pilarddcc :nice review. I agree with everything!

A very perceptive review, Pilar, and with the excellent reviews of Jana and AlexanderBendo, I don't feel that I have very much to add (but I will!).

I agree that the whole production was totally magical. I liked the idea of the "play within a play" and the setting in the theatre with the dressing tables, etc. on display created the feeling of illusion and artificiality - you were often unsure whether you were watching the "performers" or the "performance" - i.e. the characters the performers were purporting to represent.

I loved the totally over the top "feathers and glitz" costumes in the first and third act. Although not authentically Baroque, they captured the spirit of the period and the castrati for whom the music was written very well. After all, no attempt at authentic Persian costumes would have been made in Vinci's time either. By the way, by Saturday night, Semira and Mandane had started to moult with feathers flying everywhere! The "Sir Henry Poxy-Foppington" costumes in the second act could have come straight out of a Restoration comedy and added yet another layer of ambiguity.

As far as the singing was concerned, five countertenors, each with a totally different timbre was a real feast for the ears (I haven't forgotten the lone tenor)!

Individually:

Arbace: Franco Fagioli was a revelation. I didn't go with very high expectations as the only time I had heard his voice was in a rather bad rendition of "Con l'ali di costanza" on a You Tube clip and I deliberately didn't listen to the "Artaserse" CD set before the performance as I wanted to see it without any pre-conceived ideas. What a voice - a massive range and I'm in absolute awe at his ability (and to a lesser extent, Yuri Minenko's) to switch from highest head register to deepest chest register very swiftly and with no audible "gear change" - I'm sorry, I'm not a singer so I don't know how else to express this. A fine actor too - and yes, what many people say is true - shut your eyes and you can (sometimes) hear Cecilia Bartoli! "Vo solcando" is obviously a tour de force. An amazing change took place with Fagioli as soon as that ridiculous wig was placed on his head. He was immediately transformed into a preening, petulant castrato complete with Baroque posture and gestures - apparently "reluctant" to be on stage (or was he, really?). I'm really curious as to how they are going to bring about this transformation at the concert performances. The audience went completely wild on Saturday - on their feet and yelling for more - in fact, just like a real Baroque audience!

Mandane: I've always rated Cencic very highly as a singer and as an actor. I know I'm always joking in the forum about my penchant for Max in frocks (I don't really fancy Max in a frock - honest! ) but his skill in playing female parts is uncanny. Obviously, because of his build he can't physically be convincing as a woman but he manages to convey an impression of feminity in other ways - by his walk and by gestures - the downcast eyes, the little sidelong glances, the way he tilts his head or lightly brushes his cheek with his fingertips during a "Baroque" gesture. Magic, which I'm afraid is lost on the TV screen since the cameras get up far too close.

My favourite part of the opera is the Act III duet between Arbace and Mandane ("Tu vuoi ch'io viva, o cara") - as sung by FF and MEC, hauntingly, heartstoppingly beautiful and deeply moving.

Semira: Another revelation. A really lush, sweet voice which I'd like to hear more of and totally convincing as a woman. Valer B.S. has an advantage over Max in as much as he tall and willowy. I loved his dainty steps and the way he glides across the stage - although I think his costume helped a lot - it would have been impossible to lope around the stage in that white feathered creation!

Megabise: I've always liked Yuri's masculine timbre and his voice has grown so much stronger since Cardiff. A good actor too - love his evil little smile as he is trying to hit on Semira!

Artabano: I like Juan Sancho's ringing tenor and he's a really good actor - a real Baroque villain. I've never seen a singer who reacts so well as he does when he is being sung at - acting all the time in response to his fellow-singers. It may seem like a little thing but it's surprising how many singers are clueless in this respect.

And finally -

Artaserse: At first, I was a little disappointed as Artaserse seems to be a bit of an "Unulfo" (Rodelinda) part - that is, some very nice arias but nothing really spectacular. But in the end I decided that whoever did the casting (Max?) was really astute and did a good job as this is the rôle that best suits Philippe's personality. All of his arias were beautifully sung and nuanced (of course!) and he really is a master of the art of recitative and puts so much meaning into them - just as well as Artaserse has a lot of them! And he is such a good actor - whether a tender lover, loyal friend or playfully joshing around with Arbace - and Philippe is really underestimated in this respect (not least by himself!). I just wish that Vinci had given Artaserse an aria as good as "Se d'un amor tiranno" (which brought out the rich, creamy quality in Max's voice beautifully) so that Philippe could showcase his unique vocal abilities.

I do hope that someone has the idea to bring out a DVD - it would be such a shame for this wonderful production not to have a permanent record.

Hell's teeth - how could I have forgotten Diego Fasolis and Concerto Köln who brought this music so wonderfully to life?


A.

Dear Artemis,

That's wonderful! Great now we can have a discussion about details if all of you want!!

I totally agree with Artabano's qualities, he really was the baddy one and did a great job!

Concerning the cast It was Max's idea and he did a great job. Artaserse's arias were not so especial as Arbace's or Mandane's but Philippe actually improved them! He did his very best and the result was amazing. Later when I was at the signing queue, it was clear that when Philippe appeared everyone was focused on him even if other singers where there, so maybe the cast was a way of keeping the balance

Pilar,

Yes, there's no doubt about whom the audience came to see! As soon as Philippe stepped on stage, out came the opera glasses (men and women) and a whispered chorus of "Ciel! Qu'il est beau" echoed throughout the opera house

At the Saturday signing, they were all present except Yuri and Juan Sancho. I would have liked to have seen YM and JS too. Don't know why they were absent. Are they shy (unlikely, as shy, retiring people don't tend to choose the operatic stage or concert platform as a means of earning their living)? Does Yuri only speak Ukrainian? Were they sick? We should be told ... I have to say that Valer Barna Sabadus is a real charmer and was clearly enjoying all the attention ...

A.

hahaha, Artemis, so they whispered that!! Sometimes I felt I was the only one mesmerized by his presence... I was among very serious people, nobody shouted a bravo, none clapped enthusiastically as I did, not even a smile...I thought maybe they were those kind of snobs opera critics

I only stayed for the Tuesday signing (I didn't want to be spotted as the crazy one who returns!!) and there were only Philippe and Cencic. They were charmant! So Valer enjoyed the fans mess, good to know! He looks very nice too but my heart is "booked" by Philippe

Artemis,

Yuriy speaks also perfect Russian . As I asked him why he didn´t participate in the signing - session, he answered modest, that " this is not his at all".

Thanks for your passionate review! ( Have you collect some feathers? ))))

Now, as the costume - performances are over, I ´d like to mention also the second cast - the guys, who had also a lot to work and were all time ready to replace one fellow if he wouldn´t be able to sing because of being ill for example.

Artaserse- Vince Yi
Mandane- Matteo El Khodr
Arbace- Yuriy Minenko ( yes !)
Megabise- Vasiliy Khoroshev
Semira- Nicolas Spanos

also to them!

Jana,

You actually got to speak to Yuri? Swoon (thud)!

I'm really impressed that there was an alternative cast. Many major opera houses (including Covent Garden) often don't keep one these days (cost cutting, I'm afraid)resulting in some really embarrasing situations which shouldn't happen to a major opera house.

I'd kill to see Yuri as Arbace - he's the only singer, apart from Fagioli, that I can actually imagine in the rôle.

A.

I'm enjoying reading your reviews! I was able to watch the 3rd act on youtube yesterday and I was once again blown away. I agree with all that's being said about the feathers/glitter/spectacle bringing back something from the age of the castrati - that was exactly my thoughts when I saw Arbace's ending of act 1 aria for the first time (which was also what made me appreciate his voice more; I didn't know what to think of it after hearing the CD).

Jana, interesting cast of stand-ins. (I now understand why your facebook photo of Vasiliy and Yuriy has the caption 'the two Megabise') Valer Barna-Sabadus is a great Semira, but I'm sure Nicholas Spanos could do a great job too!

Artemis,

yes, I actually got to speak to Yuriy - he is very charming, witty and modest. And he smiles so sincere!

I´m not afraid to be " spotted as the crazy" ( the people nowadays are afraid of being human in general, with passions and desires, to be themselves and to accept the others), moreover I converse very gladly with the nice interesting person .

I´m also really impressed, that the productions- leader ( Mr. Cencic and " Parnassus Arts" ) cared for the second cast and invited the young musicians to have this great experience .

karenpat

hahaha, Jana, don't take it so seriously!

Regarding "spotted as the crazy one" I didn't mean anything like that, I'm pretty confident myself about my own "politesse" but I wanted to show some respect to the other fans and of course to the singers, since they were kind enough to came after the opera to see their admirers. I also enjoy very much to have a great and interesting conversation but I'm sure that singers also enjoy to have some rest

Pilarddcc

So, the singers are adult people, who can decide for themselves whether to enjoy some rest , to smoke a cigarette as well as to meet their admirers. I guess, nobody force them to do something, so let they do what they want.

I guess, you wanted to say something I understand wrong, sorry.

The general consensus seems to be that Mr. Cencic is a great guy - but then I've always thought so! Parnassus Arts Productions will be going on tour with Handel's 'Alessandro' (MEC has the title rôle) and I will make an effort to go, if at all possible. The CD set is well worth anyone's money and you can never have enough Handel (Handel is the cat's pyjamas!) ... You can be put on Parnassus Arts' mailing list via Max's website.

A.

Jana: No reason to be sorry!

Artemis: Thanks for the advise! I've been so focused on Artaserse that I didn't have time to check in Alessandro!

"Alessandro" at the Handel Festspiele in Halle is already sold out.

Furthermore, I totally agree with you, Pilar. First off all it is a question of my own thoughtfullnes and behaviour, not the artist's problem. I don't even dare to figure out what is going to happen after the last representation of Artaserse in Cologne. I hope those adult people will take the decision not to sign that night.

Encore une fois sur l'opéra. Le triomphe à Vienne!
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In this review:
"Nein, es soll hier kein goldener Apfel vergeben werden, eines wurde jedoch deutlich: Warum Philippe Jaroussky als einer der Stars der Stimmgattung gilt. Er vereinte - in der Titelrolle- alle Vorzüge in einer Person.Seine Stimme verfügt bei aller Subtilität in Führung
und Ausdruck über eine Präsenz und Kraft, wie man bei einem Countertenor selten findet."

Thanks Duffy! I am also afraid of what is going to happen at the last performance in Köln...and it seems I am not the only one!

Kelalla: Thanks for the linke! There are some pictures around in FB.

Mon 1650: I can't get the accurate translation but I believe it is a great thing to say about his voice!