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--- iolanta-bluebeards_castle_feb_14_2015 [2015/02/14 18:02] – tomgee
+++ iolanta-bluebeards_castle_feb_14_2015 [2015/02/14 18:08] (current) – tomgee
@@ Line 1: / Line 1: @@
 ===== Iolanta/Bluebeards Castle =====
+**My Take**\\
+I didn't think I would like Bluebeard and wow, was it good.  Of course I liked the nude Soprano and later in a wet clingy nightgown but the Bartok music was fantastic.  Iolanta was sung very capably by Anna and Piotr of course. The real star for me was the Bluebeard Soprano, Nadja Michael who was incredibly physical as well as erotic and daring. Bravo.  What a voice as well.
+{{:2015-02-14_180422.png|}}
+**Reviews**\\
 Later this season, the Metropolitan Opera will present the repertoire's standard double bill of "Pagliacci" and "Cavalleria Rusticana." And while that paragon of Italian verismo will surely bring audiences to the theater, it is questionable whether even those two passionate operas can bring the same level of insight as the Mer's other double bill. That bill features Tchaikovsky's "Iolanta" followed by the haunting Bela Bartok opera "Bluebeard's Castle."
 Director Mariusz Trelinski's production of the two operas actually unites two works that, on the surface, could not be further unrelated. Tchaikovsky's lyrical style is emblematic of 19 century romanticism, while Bartok's music is far less melodic and more ambient-driven. While "Iolanta" is a fairytale with a "happy ending," "Bluebeard" is an existential tragedy also based on the legend of the eponymous character. And yet Trelinski's production highlights the two opera's greatest thematic connection: vision.