Parterre Box–Tristan and Isolde Review

. . . Jordan D’Souza directed the Seattle Symphony in a meticulously shaped, beautifully tinted and propulsive reading of Wagner’s Tristan. For a young conductor’s first take on this cornerstone of operatic history, d’Souza impressively drew myriad details and color from the score and contributed to his accomplished ensemble’s musical success.

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True spectacle as Robert Carsen’s Carmen is revived at Dutch National Opera

By Rose Dodd, 11 September 2022

Walking into the auditorium for Dutch National Opera’s revival of Robert Carsen’s 2009 production of Carmen there was much bustling as people claimed their seats. Glancing towards the stage gave the appearance of ‘theatre in the round’ with a wall of red plastic seating where other audience members seemed to be taking their seats. But this was not so. On closer inspection the staged audience was uniformly dressed in pastel 1950s-style costumes, with men wearing the same cloth caps. They too were waiting as keenly as us for Carmen to begin. This was the first unseating of us as a conventional opera audience attending a conventional performance. Let the game begin. 

. . . . Under Jordan de Souza’s baton the Netherlands Philharmonic Orchestra created sweet and lyrical moments of tenderness. Choreographed direction of both the Dutch National Opera Chorus and New Amsterdam Children’s Choir was both fun and precisely characterised, adding to a wholly persuasive textured rendition – a wondrous spectacle, a starkly innovative approach – of one of the most notorious operas in the repertoire. 

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Guardian-Death Stalks Puccini’s Lovers in a Riveting Glyndebourne Show

. . . Jordan de Souza conducts the London Philharmonic, and it’s as if all the colour that has been leached from the stage is brimming over the edge of the pit. It’s not only love that is defiant in the face of death, but music, too.

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