![]() In addition to the rewarding experience of working with entrepreneurs, mentors also enjoy the relationships they build with other mentors. Our Mentors all are united by a desire to help promising consumer product startups achieve maximum success, providing the expertise and connections that enable them to do that. We like to say that our mentors are our special sauce. In addition to our intensive curriculum, our founders are surrounded by a team of mentors. Bringing a second element of laughter in, with an odd looking robot, throws the scene off balance.SKU differs other incubators and accelerators because mentorship goes deep. It is in contrast with the tragic Don Giovanni-Commander duo. Leporello’s silly responses to the statue is the giocoso in this scene of dramma. ![]() The drama, that should be conveyed by this moment, is disrupted by this farce. This is when Theatre and Opera have some domestic quarrels for Langhoff is mainly a play producer.īut let us admit, there is a grater snag: when the zombie like Commander appears with a set of end-of-twentieth-century joysticks to direct a ridiculous rusty robot of the Tinguely style, representing normally his effigy. Except for the slamming Cadillac doors or plastic bags shaken in the background to disrupt us from enjoying wholly the play, it was an auditive peak experience. Don Ottavio was sung by Bruce Ford with a pure and clear voice. Gilles Cachemaille has no need to be presented, he is the pride of Switzerland. Anna Maria Panzarella was a very convincing Zerlina. His voice is very strong and generous, it could suit an open air theatre marvellously. He is undoubtedly suited for Mozartian roles. Both of his performances were remarkable. He was performing Almaviva in Le Nozze di Figaro and it is the first time he sings Don Giovanni. I could appreciate Hvorostovsky’s voice and acting at the Royal Opera House at Shaftesbury Theatre (Covent Garden is still in reconstruction) during the 97-98 season. Dimitra Theodossiou, Susan Chilcott, Hvorostovsky and Marquardt have performed for the first time in Geneva and they were at the top of their art. The lyrical performance is really divine. The Cadillac has become a legend in Geneva. This production, though it was avant-garde when it was first performed in 1991, can be considered almost as a classic. Don Giovanni moves in this underworld of the bridge (especially under it) where prostitutes and misfits are his villagers. It slides here and forth in front of our eyes to show us different aspects of it that are more suitable for the different premises of the original scenes. The bridge is the only scene of the play. ![]() A modern Don Giovanni appears with Texan boots but with a baroquish coat to bring us some authenticity, and Leporello with a cap and trench-coat is his chauffeur. One could imagine being somewhere on a renaissance bridge in Rome, but a pink Cadillac enters and bring us back to present times. ![]() Orchestre de la Suisse Romande, Choeurs du Grand Théâtre, Armin Jordan (conductor) and 5, 7*, 10, 12, 15, 17 February 1999ĭimitra Theodossiou (Donna Anna), Susan Chilcott (Donna Elvira), Anna Maria Panzarella (Zerlina), Dimitri Hvorostovsky (Don Giovanni), Gilles Cachemaille (Leporello), Markus Hollop (Commandator), Bruce Ford (Don Ottavio), Markus Marquardt (Masetto)
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