Mozart
Leipzig Opera · Leipzig · January 2008
Liceu · Barcelona · October 2006

This was Francisco Negrin's  second collaboration with Es Devlin.  The show opened the season at  the Liceo where the piece had amazingly never been performed. It was one of FranciscoNegrin's dreams to direct this piece since very early in his carrer and he was finally able to do it and in the best possible conditions, and it is now one of the shows he is most proud of to date.



Production Team
Set: Es Devlin
Costumes: Louis Desiré
Lighting: Bruno Pet
Conductor: Stebastian Weigle

Casts included
Vesselina Kasarova, Elina Garanca, Jossie Perez, Charles Workman, Michael Schade, Véronique Gens, Margarita de Arellano, Ofélia Sala, Ainoha Garmendia, Marianna Pizzolato, Angelica Mansilla, Umberto Chiummo



" The Liceo's production for the innauguration of the season ended up reminding us of La Fura Dels Baus because of  Es Devlin's perspex set but not quite thanks to the deep elegance it distilled at times.....  Young Mexican director Francisco Negrín signed this brave offering, attractive and spectacular with its well-judged developpment in act 2, especially as concerns the stage movement and  the finale .... Negrin moved between La Fura, a certain Viscontian elegance and Sammaritani-like shadows, creating an attractive and original language on stage, with well achieved focus on certain dramatic aspects....  Exesses were well controlled, and character s attractively developped ..."

Pablo Meléndez-Haddad
ABC
October 2006

 

 

 

"Despite the A-list line-up the Liceu had assembled for its season-opening new production of La Clemenza di Tito, there was little doubt what the real star was - the sets. Fresh (if that's the word) from Gaddafi at ENO, Es Devlin had designed a glittering Perspex palace, presented in cut-out like a doll's house; with a ripening of Bruno Poet's lighting, it turned into a complex of golden picture frames. The director Francisco Negrin used these to make the set-piece arias look suitably grand and not inappropriately self-conscious, or to present duet partners, either as a cosy pair or as people symbolically kept apart. And when all had burnt down in the second act, we saw Sesto lonely among the ruined foundations before the walls rose up once again, this time surrounded by a newly flourishing forest.

n/a
Opera Magazine (UK)
Jaunuary 2007