RAVE REVIEWS FOR VIVALDI - DANGEROUS LIAISONS
It is raining stars. The press is jubilant about the première of Vivaldi – Dangerous Liaisons, in a full Koninklijke Schouwburg on 17 January 2019. OPERA2DAY's first “impressive cooperation” (leading newspaper NRC) with the Nederlandse Bachvereniging turns out to be an absolute hit. The audience is enthusiastic as well. More than 12,000 tickets have been sold as yet.
Cannot be applauded too loudly
A selection from Vivaldi’s most beautiful opera music is combined with a new libretto based on Dangerous Liaisons, the famous epistolary novel from 1782. The result is “a perfect synthesis" (Place de l'Opera) and “conclusive evidence that Vivaldi’s opera music has fallen into oblivion by mistake" (Theaterkrant). A new opera based on existing music. In the baroque this was called a pasticcio. Vivaldi was an expert in this genre. “This combination of historicising and innovative opera practice cannot be applauded too loudly.... Once more the talented members of OPERA2DAY, led by Serge van Veggel, show a fine example of thinking out-of-the-box" (De Volkskrant).
Mouth-watering
To weld the opera arias and scenes together Vanni Moretto wrote new music and interpreted Vivaldi's style. “Mouth-watering. His fresh recitative music grates and crackles and sharpens your ears" (Trouw). “You can hear he is also a baroque conductor, and a good one. He mostly respects the laws of the baroque, but he paints in wild cinematic effects, modern harmonies and references from Tata Mirando to Bernard Herrmann. It works: ears and heart accept the coherence and at the same time you are still aware that this new construct gets its shine from Vivaldi" (NRC).
“Inventive” and “ingenious”
“Cunning” staging shows decline of baroque world
A baroque world is slowly falling apart. This is shown by director Serge van Veggel together with scenographer Herbert Janse, light designer Marc Heinz, technical producer Ronald Tebra, and Mirjam Pater and Nienke Algra (costumes and make-up).
“Inventive decors and an ingenious direction provided a pleasant image, flavoured with a bit of tongue-in-cheek humour" (Place de l'Opera). “The basic colours green and fuchsia are prominently displayed and are ingeniously detailed for each protagonist" (Trouw). “The choreographed changes of scene are as clever as the decors and the costumes, with green liveries, extravagant wigs and boudoirs, and drapes showing charming cherubs side by side with lobsters and scorpions" (De Volkskrant).
“Vocal virtuosi” – “Impressive” – “Sweet-voiced”
Press spots strong cast all over
The five singers in 'Vivaldi – Dangerous Liaisons' are highly praised. In the opera Marquise de Merteuil and Vicomte de Valmont challenge one another to get others into their beds. “The Italian alto Candida Guida renders a cold and calculating Merteuil, exactly as expected from her character" (Place de l'Opera). “An impressive Merteuil" (De Volkskrant). She has a fervent antagonist in Yosemeh Adjei as Valmont. A “very fine" (NRC) and “sweet-voiced" (De Volkskrant) countertenor.
“Splendid duets”
The press also praises the singers of the other parts. Barbara Kozelj as the chaste Présidente de Tourvel, deviously taken in by Valmont and destroyed, is found to impress. “She acts sultrily subdued, sings wonderfully" (NRC). “She gave a beautiful performance" (Place de l'Opera). “Her deep and powerful voice lingers on" (Trouw).
Merteuil and Valmont's first victims are the music teacher Chavelier Danceny and his sweetheart Cécile de Volanges. Danceny is played by Maayan Licht – “his coloraturas were brilliant" (Theaterkrant). “Stefanie True convinces as the innocent Cécile de Volanges" (De Volkskrant). Their “splendid duets" (De Volkskrant) reveal them to be “vocal virtuosi" (Trouw).
“Flexible top ensemble” – “A passionate Vivaldi”
Dutch BACHVERENIGING excels
In 'Vivaldi – Dangerous Liaisons' OPERA2DAY joins up with the Nederlandse Bachvereniging for the first time. In all respects the instrumentalists of the famous ensemble live up to their reputation.
A passionate VIVALDI
“With its energy, elasticity and quick responses the Bachvereniging shows to be a flexible top ensemble" (NRC). “The Vivaldian aspects in the orchestral accompaniment are highlighted in all their fervour and sparkle, mandolins and chalumeaux included" (De Volkskrant).
“The ensemble, conducted by Hernán Schvartzman, plays nimbly and is not afraid of daring turns, thus emphasising the sensation of a new production" (Trouw). “The production is vigorously played by the Nederlandse Bachvereniging conducted by Hernán Schvartzman. His musical direction resulted in a passionate, throughout Italian Vivaldi" (Theaterkrant).