Laurent Pillot News
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2019-02-04 08:03:23
Engaging first thoughts: Cosi fan tutte
Mozart Cosi fan tutte (edited by Ian Woodfield); Nazan Fikret, Heloise Mas, Alexander Sprague, Biagio Pizzuti, hamida Kristoffersen, Francesco Vultaggio, Royal Liverpool Philharmonic, Laurent Pillot; RUBICON Reviewed by Robert Hugill on 30 January 2019 Star rating: 4.0 (★★★★) Mozart and Da Ponte's first thoughts reconstructed in this engaging performance which reverses the plot.In 1785, Salieri wrote an opera La grotta di Trofonio, in which two couples end up swapping partners temporarily. The tone is resolutely light with the results sometimes closer to farce. It is pertinent that Salieri had worked with Lorenzo da Ponte in 1784 but they had fallen out. There exists a sketch for Cosi fan tutte in Salieri's hand, as if he was trying out the opera. As we know, it never came to anything and it was Mozart and da Ponte who brought Cosi fan tutte to fruition, with its swapping of lovers in […]
2018-12-06 15:00:51
Fikret/Mas/Kristoffersen/Sprague/Pizzuti/Vultaggio/RLPO/Pillot Rubicon Even the most inspired staging of Così fan tutte leaves a lot of disbelief to be suspended. In Mozart and Da Ponte’s opera, two soldiers are persuaded into a bet that the sisters they love will remain faithful, then lose said bet when they seduce each other’s partners in disguise, somehow unrecognised by the women until the grand reveal in the final scene. Audiences have gone along with the unlikelinesses and the fake moustaches for more than two centuries, because the profound truth this opera tells us about relationships is worth it. But what on earth was Mozart thinking? This recording – billed as “Mozart’s original thoughts re-created and recorded for the first time” – answers some questions, while posing a few more. It is taken from staged performances four years ago by the European Opera Centre, using an edition by Ian Woodfield based on close study […]
2014-12-12 15:55:31
Daggers are a thane’s best friend
[…] stage, that he would certainly have produced treasures had he stuck with it. Macbeth is expertly crafted but not a dramatically memorable work. The method of Pelléas, with its indefinite character and veiled emotions, is not suitable to a vivid story of blood and battle and satanic power. Bloch suggests things when greater vehemence might make a more striking impression. He has a gift for orchestration that the Juilliard orchestra, though expertly led by Laurent Pillot, had not entirely mastered by the first night—not all the quirky, uneasy instrumental harmonics in the reduced version used here can be attributed to Bloch’s intentions. The supernatural, however, brings Bloch’s inventiveness into focus: He gives witches and apparitions an appealing eeriness. But these mysterious goings-on, plus the occasional murder, too often resolve in rather basic, tonally primitive ways that seem out of place here, an abrupt return to the natural world from the […]
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