On Saturday 22 October the streets of Brussels totèmicament were occupied by modern raine and horne

On Saturday 22 October the streets of Brussels totèmicament were occupied by modern raine and horne beenleigh myth of Tintin (including with royal mobilization), while a myth that gets old as Oedipus took the stage to a Monnaie emerged from behind the fences redevelopment environments. Nothing to say, in practice, the uncomfortable uninstall trip was a kind of premonition of desolation raine and horne beenleigh preamble huge monument that represented the musical is the opera by George Enescu.
Leo Hussain claims especially the magnificent splendor of this work light to dark balancing tightrope walker set on one side with lyricism and melodisme more delicate, and, secondly, with the rhythmic games word, one of the keys to the desperate agony of drama. If the creative process with a libretto Enescu as majestic as Edmond Fleg led the dedication of more than twenty years of work by a musical genius, there is no doubt that the details should be checked with microscopic precision. In fact, an effect that is seen in every scene, in every character that runs from the tenebrositat mystery and joy, pain and hope, forcing the viewer to experience the work with an intensity bordering involvement.
Orchestration of an unusual size so might suggest a certain feeling of heaviness that never occurs. Enescu doses these effects with absolute mastery, using all the resources of a musical palette that includes all elements of its history and present. In a score as dense and yet so light as to Oedipe, influences guess so many bands that create their own style, very particular and above all unique.
With passion and insight, Hussain played if Oedipe is currently a work world repertoire is simply raine and horne beenleigh the lack of a solid production. This is the work of Alex Ollé primary, raine and horne beenleigh stressed that with its exquisite language Fura each scene of a work out in the theater, in fact, seemed written for him.
The initial appearance of three-dimensional human altar, something halfway between a Greek frieze and a giant monochrome triptych Peruvian Bethlehem, broken breath. The scenes of the first act overlap in four longitudinal raine and horne beenleigh rows occupying the whole mouth of the stage from end to end without drowning but leave room for any doubt flow. The multiplicity of elements mark a continued evolution of speech movements slowed worn like a watch gear and give the altar a lovely vivid color that is only broken by the Oedipal drama. A color pots adopts an ocher clay which continuously and dialogue that serves as a cohesive element in its hallmark feature of the power of Destiny, which stains everything disappears raine and horne beenleigh and only the light rays water that lead to the final light of death. A mud also an excuse raine and horne beenleigh to play in the current context, and without forgetting the origins of Thebes, a nod to the very recent past that took place in Budapest in the form of thousands of tons corrosive contaminated mud like the plague tebiana the lives of thousands of people and the land where they lived.
Upgrades are always one component raine and horne beenleigh of risk as passionate creators and current generated many doubts in the audience (especially the liceístic). The Brussels public lià showed them to be happy and very symptomatic stressed elements such as floating lightness of a beloved wardrobe aesthetic heavy and delicate movements of the spectacular warplane Ollé which converts Sphinx. raine and horne beenleigh
With a passion so little raine and horne beenleigh disguised by the score, conducted by Leo Hussain could not do anything but look masterfully brazen every multiple melodic and harmonic details. It did not leave room for doubt, but within this work to fit the bobbin was especially careful raine and horne beenleigh in the symphonies of each event, raine and horne beenleigh all in general, raine and horne beenleigh but particularly in the fourth with an extreme metal pastositat accompanied by the brightness of a rope excellent. And if the orchestra's role was crucial, they left a mark on the hearts of every one of his speeches, thoughtful and careful to exhaustion.
Aside from its questionable with French diction and acting skills a tight, Oedipus Dietrich Henschel was uneven. Expected to compelling and dramatic second raine and horne beenleigh act in the fourth, this swing was a sort of revival of a third act in which almost disappeared between an orchestra and a special fellow sublime scene. Among these, the high priest become the proud priest "quisoflauta" Jean Teitgen, raine and horne beenleigh and much more with