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Cav and Pag The Barber of The Magic Flute ‘A betrayal of opera’ Seville Glyndebourne’s by ENO As good as it gets at revival loses its ENO sparkle Page 39 Page 40 Page 42 Prokofiev’s The Gambler from this was a truly cinematographic production soloist demonstrated superb musicality and Staatsoper Unter den Linden with a multitude of singers, too many to list, for that reason alone the show was worth a filling the stage and moving naturally. If the visit. Of the immense cast some singers stood his new production of Prokofiev’s The plot is rather weak and long-winded there is out, in particular Vladimir Ognovenko’s greedy T Gambler by Dmitri Tcherniakov was premiered last April during the Staatsoper Unter also one extra dramatic problem, the action is conversational but not in the Richard Strauss/ General, Kristine Opolais’s enigmatic Polina, Misha Didyk’s unpredictable Alexej and espec- den Linden’s Festtage and Daniel Barenboim Clemens Krauss Capriccio style, alas, no ially Stefania Toczyska’s overwhelming Babul- has returned to conduct it for the opening of closing scene for anybody and not much fun enka. A rarity indeed played and acted at very the opera season. But not even his august pres- on stage either. At least the appearance of high level but too little public to give some ence convinced Berliners to fill the theatre. Babulenka, the rich Aunt who disinherits the atmosphere. EDUARDO JACOBO BENARROCH Prokofiev wrote the libretto himself but his ambitious and lecherous General and who Gambler is less tragic than the original by appears only at the end of Act 2 brings some British Youth Opera in Flight Dostoievsky, the end of the opera leaves the sparkle to a rather dull work. But there is spectator non-plussed because of the lack of Prok
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