Soloists:
Andrei Bondarenko – Count Almaviva
Simone Kermes – Countess Almaviva
Fanie Antonelou – Susanna
Christian Van Horn – Figaro
Mary-Ellen Nesi – Cherubino
Maria Forsström – Marcellina
Nikolai Loskutkin – Bartolo
Krystian Adam – Don Basilio
James Elliott – Don Curzio
Garry Agadzhanian – Antonio
Natalya Kirillova – Barbarina
Simone Kermes – Countess Almaviva
Fanie Antonelou – Susanna
Christian Van Horn – Figaro
Mary-Ellen Nesi – Cherubino
Maria Forsström – Marcellina
Nikolai Loskutkin – Bartolo
Krystian Adam – Don Basilio
James Elliott – Don Curzio
Garry Agadzhanian – Antonio
Natalya Kirillova – Barbarina
Teodor Currentzis:
“My credo is that every performance you give has to be like a pregnancy. You have to dream and you have to wait until the time comes when you see the miracle happening. If you’re not like that in music, you lose the central idea of music. Music is not a profession and it’s not about reproduction. It’s a mission.”
Financial Times, Andrew Clark
Teodor Currentzis performs as if the opera has been restudied and rebuilt from scratch, with every detail weighed and contextualised within the arc of the whole.
Currentzis’s period-instrument ensemble musicAeterna offers a joyous blend of style and spontaneity. Each successive scene seems to bristle with transparency and intimacy, with some deliciously free fortepiano ornaments.
Currentzis’s period-instrument ensemble musicAeterna offers a joyous blend of style and spontaneity. Each successive scene seems to bristle with transparency and intimacy, with some deliciously free fortepiano ornaments.
The New York Times, Anthony Tommasini
There are some splendid qualities to the performance this recording captures, especially the precision and vitality in the playing of the orchestra, which uses period instruments, and the interplay among the cast members, including subtly sung recitative over imaginatively embellished accompaniments played on fortepiano.