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MessagePosté le: Sam Nov 09, 2013 2:58 am    Sujet du message: cheap uggs no se levantaría en un primer Répondre en citant
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Dirty Dancing and Viva Forever is unlikely to lead as far back as the 19th century Added to this the regional character of many operettas is ill-suited to the global market where productions are shared by different comp #file_links[D:\keywords2txt1S] anies and play to diverse international audiencesBerry admits as much “ENO has a very strong identity with its work travelling around the world� he says “If we’re going to do a Fledermaus it’s got to feel like it fits into the ENO unique selling points and in a sense into our brand�These issues of interpretation stretch beyond the narrative or libretto to include musical language too – the waltz the lifeblood of later operetta being the most striking exampleStrauss known in his time as Der Walzerkönig used waltzes as a romantic shorthand throughout his work – the score of Die Fledermaus is coursing with 3/4 time – but they became tainted by musical developments in the early 20th century Within the first decade Richard Strauss had employed the motif variously to signal lust and depravity (in Salome’s Dance of the Seven Veils) trauma and despair (in the build-up to Elektra’s Totentanz) and nostalgic kitsch (in Der Rosenkavalier) From then on it would be difficult for theatre audiences to interpret the waltz without a sense of ironyIn more practical terms too the scores of operettas can cause problems These works especially early on were not written f #file_links[D:\keywords4txt1S] or professionally trained singers or high-quality orchestras but rather well-rounded performers with easy and comedic charm and nimble house bands ©Ron ScherlJoan Sutherland in ‘The Merry Widow’ in 1987Andrew Dickinson co-founder of a new London-based company called Opera Danube which launches with a production of The Merry Widow next month has chosen to focus on operetta precisely because of its scarcity“There are so many opera companies out there now� he says “We wanted to create something that stood out a little bit and by focusing on operetta we did that immediately� The repertoire is also well suited to the young cast of singers “A lot of operetta is very flattering on the voice it’s not too heavy even with a full orchestra and it’s often written very sensitively for young voices�In the UK a strong tradition of amateur G S performances has run parallel to poor exposure on the professional stage And as Stuart Box honourable secretary of the Gilbert Sullivan Society explains since the D’Oyly Carte Opera Company’s performing rights for G S works lapsed in 1966 new and different interpretations have been allowed to develop Box notes that a number of opera companies have begun to add G S to their repertoire because “it’s straightforward easy and often very cost-effective� He mentions fresh stagings seen at last month’s International Gilbert Sullivan Festival in BuxtonAn increasingly experimental approach to venues (there have been bold and successful productions of Iolanthe and The Pirates of Penzance at Wilton’s music hall in London’s East End in recent years) coupled with a growing hunger among the theatre-going public for more obscure works could spur greater interestDickinson intends to establish his company with well-known operettas – there are plans for Die Fledermaus and Offenbach’s Orpheus in the Underworld – before embarking on a more ambitious programme aimed at broadening audiences’ perceptions “There are some absolutely brilliant pieces out there There’s one called Le Postillon de Lonjumeau which has a very famous aria that [Nicolai] Gedda has sung� Dickinson says and he mentions an interest in the German composer Albert Lortzing and Offenbach’s lesser-known worksMeanwhile Berry reveals that a new Gilbert and Sullivan production is planned at ENO next season (he says little except to confirm that Christopher Alden is not involved) and he hints at more operettas in the future“I’m not naturally drawn to operetta and frankly I’ve seen so much of it done badly that that hasn’t helped� he says “but [Die Fledermaus] is an exciting project for us and maybe it’ll be the beginning of more exploring both the well-known repertoire and some of the undiscovered operettas�‘Die Fledermaus’ September 30-November 6 wwwenoorg; ‘The Merry Widow’ October 18 and 19 wwwoperadanubecoukCopyright The Financial Times Limited 2013 You may share using our article toolsPlease don't cut articles from FTcom and redistribute by email or post to the web1, Before joining the Financial Times.
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