Anatoli Kotscherga

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Mozart: Don Giovanni
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Mozart: Don Giovanni

Jul 27, 2008
A striking interpretation of Mozart's opera that became a sensation at the 2008 Salzburg Festival. This is not only a rethinking of the place and time of the opera, but also a deep disclosure of the characters' characters, their ambiguous inner world. A simple, at first glance, plot is turned by the creators of the play into a dynamic psychological thriller.
Music
Boris Godunov [Salzburger Festpielhaus]
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Cette magnifique production du chef-d’œuvre de Moussorgski, créée en 1994 et saisie ici au Festival de Pâques de Salzbourg en avril 1998, réunit un plateau d’exception. La mise en scène est signée Herbert Wernicke qui propose une lecture vive, réaliste et surtout sociale de Boris Godunov, restituant à l’œuvre sa dimension historique et psychologique, entre l’épopée du peuple russe et le drame shakespearien. Claudio Abbado dirige l’Orchestre philharmonique de Berlin et un chœur de plus de trois cents chanteurs, dans la version de 1872-1874, révisée par le musicologue David Lloyd-Johns en 1975 et qui renoue avec l’orchestration de Moussorgski. Dans le rôle titre du Tsar Boris, Anatoli Kotscherga se voit bientôt défié par Vladimir Galouzine (Dimitri), prétendant enflammé par Alexander Morosov (Pimene) et soutenue par Marjana Lipovšek (Marina).
Music
Mussorgsky: Khovanschina
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One of Modest Mussorgsky's great talents was his unique ability to transpose words, psychological states, and even physical movements, into music. Kent Nagano rises magnificently to the challenges presented by this score. And Dmitri Tcherniakov's fascinating production emphasizes the timeless quality of this sombre tale of intrigue and power struggles reminiscent of a Greek tragedy, reflecting Mussorgsky's own maxim: "The past in the present - that is my task."
Music
Eugene Onegin
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Eugene Onegin

Jul 01, 2008
Live performance by the Bolshoi Theatre at the Palais Garnier, Opéra National de Paris, 2008.
Music
Mozart: Don Giovanni
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Mozart: Don Giovanni

Nov 03, 2010
More than two centuries after its creation, the emotional pull of this supreme opera remains absolutely intact. Dmitri Tcherniakov duly revisits the myth and makes the seducer of Seville a ‘man without qualities’, a cipher whose words have a hypnotic power over women. His words will disrupt the proprieties ruling the Commandatore’s family. His words are also what makes Don Juan such a subversive figure and the embodiment of one of the most powerful modern European myths. Leading the Freiburg Baroque Orchestra is one of the best Mozart conductors, Louis Langrée. Bo Skovhus portrays a dispirited Don Giovanni, old playboy and anti-hero. Kyle Ketelsen is his servant Leporello, currently a shoe-in for this rôle. The superb female trio is composed of Marlis Petersen (Donna Anna), Kristine Opolais (Elvira) and Kerstin Avemo (Zerlina).
Rimsky-Korsakov: The Tsar's Bride
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The argument is based on an historical case. In the suburbs of Moscow, reigned around 1571 Tsar Ivan IV, 'the Terrible'. Widowed, he is looking for a new wife for the third time. He chooses the young Marfa; she loves another man but bends to the will of the Tsar and renounces her love. From this starting plot, the Russian director Dmitri Tcherniakov retains only the frame. A live competition is organised for a virtual monarch like in a reality show called «Joe Millionaire » where competitors attempt to marry a rich man. Here, the characters become the various players of the audiovisual industry bringing an acerbic criticism of contemporary TV. Daniel Barenboim conducts the Staatskapelle Berlin, with Olga Peretyatko, Anita Rachvelishvili and Johannes Martin Kränzle. Recorded at Staatsoper, Im Schiller Theater Berlin, in October 2013.
Music
Mussorgsky: Khovanshchina
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Kent Nagano superbly masters the challenges presented by this score, shapes the dynamics with subtle intensity, and casts the score in a mellow glow. As Marfa, the spurned lover of Ivan Khovansky‘s son Andrei, Doris Soffel unfolds such a rich palette of sonorities, from the pathos of the lower ranges to shaded discant heights, that “one is tempted to speak of a Russian mezzo”. The final chorus, which Mussorgsky did not compose, is played in the orchestrally transparent version of Igor Stravinsky – the third great Russian composer who contributed to making “Khovanshchina“ a timeless, gripping stage work. With his stripped-down sets and historicising costumes, director Dmitri Tcherniakov, one of the new voices of contemporary Russian theatre, builds a bridge to the political present. A lesson in history and music!
Music
Le monde est à vous
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Le monde est à vous

Jun 22, 1997
Le monde est à vous est une émission télévisée de divertissement conçue et présentée par Jacques Martin entre 1987 à 1997 sur la chaine Antenne 2 (devenue France 2 en 1992). Elle succédait à l'émission Tout le Monde le sait (1985-1986) dans la tranche Dimanche Martin. Il y avait trois candidats qui devaient répondre à des questions sur des sujets multiples: celui qui enregistrait le plus de points décrochait le voyage de son choix. Il y avait tous types de variété, chanson française, internationale mais également de la musique classique. Et assez fréquemment Jacques Martin interprétait une chanson qui rappelait l'époque de sa jeunesse (il avait 55 ans en 1988). Cette émission a été remplacée en septembre 1997 par Sous vos applaudissements.
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