It also makes a statement about how much lighter our lives could be if we were more considerate toward forgiveness, a lesson rarely taught with such beauty, gentility and style.At the Sydney Opera House we welcome more than 10,000 visitors each day. Here, the Count must atone again and again, yet his wife gracefully and tirelessly chooses to put the humiliating act behind them. Just as a faithful spouse must wake up each day and choose to be faithful, one must make the choice to forgive again with each new day, each new action. Playing (and replaying) the scene in this format presents an interesting commentary on the act of forgiveness itself. The Countess forgives his indiscretion, and the ensemble sings, “Ah, we could all be so happy, if we could just be like this.” The scene highlighted in the production shows the lascivious Count Almaviva, caught hitting on the maid, begging for his wife’s mercy. “Bliss” is the first live performance in the historic theater since its conversion to a parking structure, and Detroit is only the third city to take on the challenging task. “Bliss” was previously performed in Los Angeles in 2019, and New York in 2011. The brutalist nature of a parking garage set within the decaying grandeur of a classic theater, and a production featuring lavishly dressed performers with voices soaring up to the arches, made for a wild artistic experiment, a juxtaposition as surreal as it was glorious. got a very different show from people who visited at 5:30, 9 or 11:30.ĭirector Yuval Sharon made the unconventional even more so by staging the production in the Michigan Theatre building, a 1926 structure that was hollowed out in 1976 and transformed into a four-story parking garage with the ornate staging area, upper balcony, projection booth and lobby left intact. It was far from repetitive, however, as it spanned different parts of its staging area and changed a bit with each run-through. Michigan Opera Theatre's staging of “Bliss,” a unique performance that found singers and an orchestra performing the final scene of Mozart’s “The Marriage of Figaro” repeatedly without pause for 12 hours, unfolded from noon to midnight Saturday.
0 kommentar(er)
