Meyerbeer: Margherita d'Anjou / Luisi, Orchestra Internazionale d'Italia
Margherita DâAnjou was Giacomo Meyerbeerâs fourth opera in Italian and his first true success. After an absence from the stage of one and a half centuries, it returned at the 43rd Valle dâItria Festival in an exemplary production: the ironical setting of the director Talevi- the War of the Roses takes place at the London Fashion Week- is perfectly matched by the elegant direction of Luisi, at the head of the Orchestra Internazionale dâItalia. The opera, which belongs to the semi-serious genre, moves from the warlike tones of Act One to the idyllic ones of Act Two, where both female protagonist appear: the queen, a soprano, and the wife, a contralto; both seeking the love of a heroic tenor equally daring in battle and in music.
Margherita DâAnjou was Giacomo Meyerbeerâs fourth opera in Italian and his first true success. After an absence from the stage of one and a half centuries, it returned at the 43rd Valle dâItria Festival in an exemplary production: the ironical setting of the director Talevi- the War of the Roses takes place at the London Fashion Week- is perfectly matched by the elegant direction of Luisi, at the head of the Orchestra Internazionale dâItalia. The opera, which belongs to the semi-serious genre, moves from the warlike tones of Act One to the idyllic ones of Act Two, where both female protagonist appear: the queen, a soprano, and the wife, a contralto; both seeking the love of a heroic tenor equally daring in battle and in music.
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Margherita DâAnjou was Giacomo Meyerbeerâs fourth opera in Italian and his first true success. After an absence from the stage of one and a half centuries, it returned at the 43rd Valle dâItria Festival in an exemplary production: the ironical setting of the director Talevi- the War of the Roses takes place at the London Fashion Week- is perfectly matched by the elegant direction of Luisi, at the head of the Orchestra Internazionale dâItalia. The opera, which belongs to the semi-serious genre, moves from the warlike tones of Act One to the idyllic ones of Act Two, where both female protagonist appear: the queen, a soprano, and the wife, a contralto; both seeking the love of a heroic tenor equally daring in battle and in music.
