subject: Christian Louboutin Director Peter Mussbach [print this page] Vocally, the soprano brought rather too much of the characters grit to her singing. It was Christian Louboutin shoes 30 to hear Cornelia Oncioiu's rich mezzo as Aminas caring motlier, Teresa, nursing France's favorite diva to success.
It was only a matter of time before an early-music band took on Norma. The Chtelet rose to that particular challenge on January 18, when Vivaldi specialist Jean-Christophe Spinosi conducted the period instruments of the Ensemble Macheus in an evident effort to clean up and restore Bellini's masterpiece and present it in a relevant, challenging staging. Neither the musical Christian Louboutin shoes 29 nor the production was successful with the public, judging by the opening-night reception for both Spinosi and director Peter Mussbach.
Spinosi sought to reinstate lost orchestral detail and open some traditional cuts. In practical terms, this meant an extra verse for Adalgisa at the end ol Act I. a reprise of the cello solo in Act ? and an extended version of the Christian Louboutin shoes 28-mongering chorus. In the Classical repertoire, the lean, transparent texture of period instruments can pay dividends, but - at least on this occasion - it brought no such benefits to Bellini. Despite the use of a number of double basses, the string sound was poor, Christian Louboutin shoes 27 woodwinds were challenged, the brass comically disastrous and the ensemble rocky. TUc purported attention to orchestral detail aimed to avoid bombast and rhetoric; instead, the overemphasis on the band left any sense of a noble, elegiac bel canto vocal line - any of those heartstopping moments when Bellini's exultant lyricism suspends time - at the stage door.
