Latest news with #ActII
L'Orient-Le Jour
2 days ago
- Entertainment
- L'Orient-Le Jour
No, 'Carmen' is not a French opera
This is a staging of "Carmen" that will no doubt be hotly debated and rejected, as the appreciation of this most popular opera is so often based on a misunderstanding of its true values in favor of a routine falsely called "tradition". Whether we like it or not, no, "Carmen" is no longer a French opera. It is one of the few masterpieces to have been internationally appropriated. This internationalization has been both Bizet's greatest triumph and an open door to all sorts of new interpretations beyond the habits of public and music lovers alike. It is this kind of recreation that director Jorge Takla and conductor Father Toufic Maatouk brought to life last Friday and Saturday at the prestigious Baalbeck Festival. Let's say right away that the result differs quite a bit from what we're used to. Changes were made to the opera, likely due to a time limit of two and a half hours and probably budget constraints as well. But to me, Father Maatouk's direction is a complete success — not just for how it blends music and action with Takla, but because the action itself seems to grow naturally from the music. It is always difficult to achieve convincing staging in an open-air setting, and Takla managed to adapt it perfectly to the venue. The freedom of this direction will no doubt be criticized, even though there are no flashy effects, nor even the less gratuitous ones found in some familiar versions. The movements change constantly, adjusting to the fluidity of emotions and, most importantly, to the space and stage. Yet, in the rare places in the score where Bizet gave specific directions, these are always respected. For example, the marking "don't rush" at a particular moment in the Act II quintet, which the so-called "tradition" never observes. Otherwise, one notes that the flexibility of tempos, accents, and rubato bring out both the pure musical value of Bizet's inspiration and writing, and add to the dramatic meaning of the music. Generally speaking, the main originality of Maatouk's conducting is how he creates a dialogue between the orchestra and the singers. This goes beyond simply accompanying the voices, the orchestra becomes a protagonist, just like Carmen or Don José. Its presence is an active force, immersing the characters in a brilliant sound environment, but also shaping them in spite of themselves, the sonic expression of the fate that, as Carmen sings, is the true master. The progression is fascinating and culminates fantastically in the final scene. All of this is achieved with a restraint that the singers' occasional excesses only barely disrupt. But what about the singers? Marie Gautrot is certainly a remarkable Carmen. Her interpretation is as compelling as Callas', but her vocal timbre is even better suited to the role of the gypsy, and at rare moments, she tends to push her acting — perhaps because this is open-air rather than a traditional opera stage — though not in the veristic style of Puccini, but more in the direction of realism. Julien Behr has a voice whose impact is stunning in the most violent passages and in the climaxes of Acts III and IV. His Don José, more external than Jon Vickers', has the raw power of a wounded animal. The lyrical moments — "Parle-moi de ma mère", "La fleur que tu m'avais jetée" — shine with melodic elegance and intrinsic vocal beauty. Vannina Santoni, on the other hand, phrases delightfully as Micaëla, and though Jérôme Boutiller's tone lacks a little brilliance for Escamillo, he sings with all the desired panache. The secondary roles are overall well cast: Mira Akiki (Frasquita), Grace Medawar (Mercedes), César Naassy (Zuniga), Fadi Jeanbart (Morales), Philippe-Nicolas Martin (Le Dancaïre), and Jason Choueifaty (Le Remendado). The Antonine University choir and the Romanian Radio Chamber Orchestra were magnificent, possessing tremendous dynamism. As for the "Olles!" and other added exclamations that will no doubt shock some purists, I think they form an integral part of the realistic aesthetic deliberately chosen by the conductor and director, without disfiguring Bizet's musical intent. In conclusion, bravo to the Baalbeck Festival committee. A grand spectacle, an extraordinary version for Carmen fans — many of whom perhaps love Bizet's masterpiece for the wrong reasons? One thing is certain: you had to be there. Because beyond the striking impression it made, many music lovers that evening discovered, thanks to the conductor, new beauties in a score they thought they knew well.
Winnipeg Free Press
28-06-2025
- Entertainment
- Winnipeg Free Press
Warning: campy '80s romp could induce headbanging
Rock on! Rainbow Stage took Thursday's opening night audience on a blast to the past as it launched its 71st season with the mullet-curling professional Manitoba première of Broadway hit Rock of Ages. The Tony Award-nominated jukebox musical offers a string of 1980s rock anthems immortalized by bands such as Foreigner, Whitesnake, Poison, Twisted Sister and Styx, while its broad-strokes narrative tells the tale of lead characters Drew and Sherrie, who fall in love while chasing their dreams on Hollywood's legendary Sunset Strip. It became the basis for the 2012 film starring Tom Cruise and Mary J. Blige, which took creative licence in adapting the show's original book, penned by Chris D'Arienzoi. Nathaniel Muir (centre left) and Jeff Rivet (centre right) rock out with members of the energetic ensemble. In many ways, the stage version is much funnier and often downright campy, boasting several meta-layers in which narrator Lonny breaks the fourth wall to take jabs at the fantastical nature of Broadway musicals. Director Alexandra Herzog, who also helmed last year's Mary Poppins, wisely plays up these moments with her gung-ho cast. Their iron-clad conviction includes wearing costume designer Daina Leitold's eye-popping period spandex and Laura Warren's shoulder-grazing wigs while punching out choreographer Josh Assor's angular movement vocabulary peppered with more fluid body isolations. Tiered sets by Ksenia Broad-Milian evoke the gritty Bourbon Room bar and Act II's palm tree-flanked Venus strip club. Scott Henderson's effective lighting adds further colour, highlighting key moments throughout the nearly three-hour (including intermission) production. Every theatre impresario dreams of mounting a showstopper, and in this case, the performance actually did halt for a nerve-racking six minutes during the opening medley of Cum on Feel the Noize/Just Like Paradise/Nothin' But a Good Time, owing to technical issues. A tight onstage rock band led by music director/conductor/keyboardist Paul Rodermond features bewigged players appearing as Arsenal, whose members freely flip the bird to their lead singer Stacee Jaxx (Reid McTavish) in the outro of his career. The actor's portrayal of this juicy role might have been more satisfying if any backstory were provided (one of the skeletal script's many gaping holes), but he nonetheless slithers around the stage like a panther in skin-tight leggings and wails during We Built this City/Too Much Time, after first bursting into the action from the house, mobbed by groupies. Rainbow's latest offering admittedly won't be everyone's cup of tea. There's some profanity, a lot of bump 'n' grind, and the copious pelvic thrusts risk becoming gratuitous. The show certainly warrants a 'mature content' warning for the younger audience members who eagerly lapped up Mary Poppins last year and will surely throng to Disney's Frozen next month. Having said this, kudos to a trio of ensemble members, who morph into waitresses/strippers at the Venus club, for their fearlessly athletic pole dance at the top of Act II, hanging upside down like bats out of hell and enthralling the mixed-age crowd. Tiera Lee Watts marks a terrific Rainbow debut as fresh-faced Sherrie from Oklahoma, effectively navigating her emotional trajectory from Midwest innocent dead-set on breaking into showbiz with her own acting career to disillusioned dreamer headed back home. She also boasts powerhouse vocals, first heard in Sister Christian, and weaves her compelling voice into many of the show's medleys and duets, including More than Words, High Enough, and Harden My Heart/Shadows of the Night. Jeff Rivet is a standout as Lonny. Nathaniel Muir is rock-solid as Drew, proving he has a balladeer's heart with his more soulful hits such as Heaven, accompanying himself on acoustic guitar, and belting out others for all he's worth, including the rafter-raising I Want to Rock and Waiting for a Girl like You. In fact, more of these ballads, such as Act II's gorgeous rendition of Every Rose Has its Thorn performed by the entire company, would provide welcome contrast in the playlist; one rock tune zipping to the next often feels exhausting. Two of the night's strongest performances belong to Daniel Bogart as Dennis Dupree and his loose cannon 'soundman' sidekick Lonny, a charismatic Jeff Rivet; their spot-on portrayals hew uncomfortably close to the gold-chained rockers still lurking among us. Weekday Evenings Today's must-read stories and a roundup of the day's headlines, delivered every evening. Another shout-out goes to Rochelle Kives as 'Mother' (doubling as Justice), a.k.a. Mama, who offers life advice to Sherrie while egging her on to lap dance for Stacee in the Venus's Champagne Room. A Rainbow Stage fan favourite, Kevin Klassen returns as menacing building developer, Hertz Klinemann, with his son, Jean van der Merwe's Franz, spitting out their plans to demolish the Bourbon in German accents. This sets up Act II's showdown with Victoria Exconde's feisty city planner Regina, who leads the charge — with the audience warbling along — during We're Not Gonna Take It. Rock of Ages is not exactly a heavy dramatic slog, promising Nothin' But a Good Time as it appeals to those still pining for the glory days of yesteryear. However, buried — deeply — in the cracks is the timeless message that, whether Dead or Alive, it's never too late to rock out and believe in dreams that can morph like a lava lamp into new, often jolting visions for the future.
Yahoo
23-05-2025
- Entertainment
- Yahoo
Beyoncé Cowboy Carter at MetLife Stadium setlist: What songs did Bey play?
You can add Beyoncé to the list of country artists at MetLife Stadium this summer. Bey's Cowboy Carter Tour played the first show of five nights at the East Rutherford venue on Thursday, May 22. The global superstar made her name in the R&B and pop world, so why the shift to country? Although it hasn't been confirmed, many feel Beyoncé's less-than-warm reception at the 2016 Country Music Awards triggered the shift. 'It was born out of an experience that I had years ago where I did not feel welcomed … and it was very clear that I wasn't,' said Beyonce in an 2024 Instagram post. Bey performed with the Chicks at the 2016 CMAs. 'The criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me,' Beyonce added. 'Act II is a result of challenging myself, and taking my time to bend and blend genres together to create this body of work.' 'Act II' is 'Cowboy Carter,' and this act is still unfolding. Upcoming shows at MetLife are Saturday, May 24; Sunday, May 25; Wednesday, May 28; and Friday, May 29. Check out Thursday's setlist below for what Beyonce played at the MetLife opener: American Requiem Blackbird The Star-Spangled Banner Freedom Ya Ya / Why Don't You Love Me Oh Louisiana America Has a Problem Spaghetti Formation My House Diva Alligator Tears Just for Fun Protector Flamenco Desert Eagle Riverdance II Hands II Heaven II Tyrant Thique Levii's Jeans Sweet Honey Buckiin' / Pure Honey / Summer Renaissance Texas Hold 'Em Crazy in Love Single Ladies (Put a Ring on It) Love on Top Irreplaceable If I Were A Boy Jolene Daddy Lessons Bodyguard II Most Wanted Cuff It Heated Before I Let Go Daughter Renaissance I'm That Girl Cozy Alien Superstar 16 Carriages Amen Chris Jordan, a Jersey Shore native, covers entertainment and features for the USA Today Network New Jersey. Contact him at cjordan@ This article originally appeared on Beyoncé Cowboy Carter at MetLife Stadium setlist: What did Bey play?
Yahoo
29-04-2025
- Entertainment
- Yahoo
Beyoncé Goes Pantless in Chaps Featuring Almost 2,000 Pieces of Fringe
Last night, Beyoncé kicked off the Cowboy Carter tour in Inglewood, California. The show featured multiple costume changes, and one of the looks was a stunning Mugler number. She sported a formfitting custom Mugler bodysuit and paired it with a matching jacket and buckled chaps, both of which feature over 1,000 pieces of kicked off her highly anticipated Cowboy Carter tour in Inglewood, California, yesterday, and her fans got to see not only her one-of-a-kind stage presence, but also her killer fashion sense. The pop star loves a bodysuit when performing, and this tour is no different. She worked with Mugler on one of the many looks for the night, which features her signature corseted white bodysuit, along with a jacket and buckled chaps that featured 1,740 laser-cut bonded fringes. Mugler uploaded a video to its Instagram account, sharing the process of creating Queen Bey's stunning cowboy-themed outfit. The video shows designers cutting the fringe, making the belt buckle holes, and stitching the label to one of the pieces. Interspersed are photos of Beyoncé onstage in the outfit with her song, "Ya Ya," playing in the background. Her latest tour comes after she put out Act II of what is rumored to be a three-act trilogy album project that started with Renaissance in 2022. After she released that album, she embarked on a highly successful tour in 2023 and then released Cowboy Carter in 2024. The three-album trilogy is shaping up to be an in-depth analytical look at reclaiming different genres of music that were created and popularized by Black artists, but were later co-opted by white stars. The tour is also turning into a family affair. On night one, she brought out her daughters, 13-year-old Blue Ivy and Rumi, as she sang her song "Protector." The Cowboy Carter tour is shaping up to be an exciting endeavor. The set list is over 30 songs long and it includes her rendition of the Beatles song, "Blackbird," along with some of her older songs like "Formation," "Diva," and "Freedom." Read the original article on InStyle
The Guardian
04-04-2025
- Business
- The Guardian
The Guide #185: How The Phantom Menace's trade wars can help you understand our political moment
There are many scary things to come out of Trump's tariffs. The world economy being thrown into chaos; spiralling prices; furious economic experts showing charts with big down arrows, using phrases like 'gilt markets' and 'share index undergrowth', which I definitely understand. But the most terrifying thing – the thing that has made me truly believe that we are living in the End Times – is a panic-inducing realisation: The Phantom Menace just might have been right all along. For those who haven't seen the first Star Wars prequel, GOD I envy you. The dialogue is wooden and the structure inexplicable (sure, let's just have a pod-race instead of an Act II) – and that's even before we get onto the Jar Jar Binks of it all (the answer to the question 'what if we shaved Paddington and spliced his DNA with the most unlikeable newt in the world?'). But the biggest complaint is the subject matter. Focusing on a blockade of the distant planet Naboo by the increasingly rapacious Trade Federation, it's less a Star Wars film and more a two hour trade negotiation with a minimal bit of Jedi fighting thrown in. Picture the Brexit talks, except David Davis and Michel Barnier had lightsabers that they only used right at the end. Just imagine being a Star Wars fan watching it for the first time – after years of anticipation, you read the opening crawl to discover that the film is effectively about the taxation of trade routes in outposts of the Galactic Republic. Were there reviews of Return of the Jedi that said 'I liked it but I really wanted to find out more about Endor's marginal tax rate'? For 26 years, The Phantom Menace has been held up as the hubris of creator George Lucas. The idea that Darth Vader, arguably the most iconic villain of all time, could be birthed from something as mundane as a trade dispute on Planet Naboo seemed ridiculous. And then, as with so many things that seemed ridiculous, along came Donald Trump. This week's tariff madness and the effect it will surely have on the American Republic and the rest of of the world has made many (myself included) reappraise the film, and recognise that it is perhaps quite prescient. Lucas's obsession with the taxation of the Republic can be seen less as a creator losing themselves in the minutiae of their own creation, and more as a warning of how trading systems can be weaponised. The stranglehold that the Trade Federation places on Naboo is similar to the one the current American government is threatening over the economies of developing countries like Lesotho and Vietnam. In this context, previously weak lines take on new meaning. Early on, before the negotiations turn violent, Liam Neeson's Qui-Gon Jinn murmurs, 'I sense an unusual amount of fear for something as trivial as a trade dispute' – deftly pointing out that when trade disputes are used to impoverish and starve one's enemies as a proxy for war, there's nothing trivial about them. The more you ignore the terrible parts of the film (and believe me, there are lots of terrible parts), the more parallels with our own terrible time become apparent. The Trade Federation's own rapacious desire for profit over all else – and the deal that they do with the Dark Side, despite their own unease – feels worryingly similar to how the CEOs of Amazon, Meta and Google have all bent the knee to the Trump Administration. The increasing political power of the Trade Federation, and the way that they have stymied the Galactic Senate, brings to mind the way that the legislative arm of the United States has been hollowed out by lobbying and neutered by the richest and most online man in the world. The fact Princess Amidala thinks the Senate will save Naboo, despite all evidence to the contrary, reflects the unfounded belief of many Americans that Republican senators will grow a spine, and the checks and balances will suddenly revive themselves to constrain Trump. There's even something in the way that Senator Palpatine (who will later become the evil emperor, complete with lightning hands and bathrobe) is treated by everyone as a stand-up guy despite the fact that he is very obviously evil – I was half expecting Keir Starmer to turn up and offer him a state visit. So is George Lucas some kind of modern day Cassandra? One who envisioned the horrible rise of Elon Musk through the creation of Viceroy Gunray, a small grey alien who sounds a bit like my impression of Jose Mourinho after four pints? Should we be combing through the prequels to work out how to deal with the current rise of the far right? Well … no, obviously. Most of George's solutions involve getting space wizards to blow up conveniently placed air vents - which, as wildly fantastical plans for combatting authoritarianism go, is about as good as Chuck Schumer's. Sign up to The Guide Get our weekly pop culture email, free in your inbox every Friday after newsletter promotion Ultimately though, there was something that The Phantom Menace's trade war premonition missed – just how stupid all of this is. There isn't a scene where Darth Sidious starts talking about how he invented the idea of grocery bags, or another where the Trade Federation tried to tax an uninhabited planet filled with penguins. Lucas filled the script with tense technical jargon and slick politicians engineering crises to justify a collapse into totalitarianism. It turns out he didn't need to bother. He could have just had a crawl at the start that said 'the Emperor has lost his mind, Viceroy Gunray's son is wiping snot on the walls of a Coruscant palace, and everyone is basically fine with it. Now get ready for two hours of pod racing!' The good news, in the end, is that The Phantom Menace wasn't right all along. The bad news? It's because our world is too wrong for The Phantom Menace to have predicted. And that's much worse. If you want to read the complete version of this newsletter please subscribe to receive The Guide in your inbox every Friday
