And an Osmin to match. A fantastic set of singers, and actors. None of this opera's long, stop-action arias seem at all long in this edition, which means the stage director doesn't have to fill in with lots of scene action to keep the audience interested. On the contrary: one's interest is enchained. Simple staging, with very good comedy, but nothing unnecessary. By far my favorite of (my four) Entfuhrungen ... Madeleine H.
I mostly enjoyed this performance, but I found Talvela's Triumph aria too backward. Black mark there for the sound engineers.Airaiza was a wonderfully firm Belmonte, as was Gruberova as Constanze, Even here though the singers seemed overpowered at times by by the ( splendid ) orchestra. I suppose the star was Karl Bohm. Talvela sang and acted very well, as did Orth. How on earth did he manage to carry the huge Talvela?. Reri Grist .also sang well as did the chorus. The staging of the opera was very entertaining & not spoiled as is the wont nowadays by certain directors who ruin opera for me, as do some singers. The good acting and staging was a bonus and barring some sound defects a most enjoable evening for me.Sorry about the lack of accents but I don't know how to find them, perhaps some kind person will enlighten me.
byDeon van der Walt, Inga Nielsen, Kurt Moll, Lars Magnusson, Lilian Watson, Oliver Tobias, Covent Garden Orchestra of the Royal Opera House, Covent Garden Royal Opera House Chorus, Sir Georg Solti Wolfgang Amadeus Mozart