He liked the story's themes of love and bad fate. When the grandmother goes to bed, he jumps out in front of her and tells her he wants to know the three cards. Her glare and large dresses only added to her sense of power and strength. And OperaWire came about as a desire to take in as much of it and allow the passionate fan base access to everything this wondrous art form has to offer on a daily basis. Sometimes it is known by its German title Pique Dame. The costuming for the Countess, an imposing black gown emphasizes her initially as Hermann’s equally dark equal, before shifting to a haunting red that dominates the opera’s final moments in blinding fashion. Only when he is alone or in an intimate exchange with Lisa, and thus in control of the situation, does he get to occupy more of the center of the staging. But Petrenko seemed to understand that this opera is all about the emotional contrasts and you really felt that you were being transported into another world altogether. Hermann can only think of one thing: he wants to find out the secret of the three cards so that he can gamble and win lots of money. The Queen of Spades: Bolshoi Opera This production from Bolshoi is very good and compelling. A spotlight must be placed on Leah Hawkins in the very brief role of Masha. With her, the “less is more” concept worked best with the soprano’s more subtle gestures far better suited to her singing. While the intention was clear and palpable, the execution was likely a bit overwrought and drew some unnecessary laughter from the audience.

However, overall dramatically she is rather static, a little too stand-and-deliver and somewhat stereotypical too often. He also had the opportunity of interviewing numerous Oscar nominees, Golden Globe winners and film industry giants such as Guillermo del Toro, Oscar Isaac and John Leguizamo among others. Hermann gambles all his money, saying "The life is only game and the sure is only death". If not for those highs, this interpretation was vocal elegance embodied. As Sourin and Tchekalinsky, Raymond Aceto and Paul Groves managed to provide the opera with a sardonic edge. She proved a fantastic vocal partner in the first ensemble and then in her duet with Pauline, melding her voice beautifully in the tapestry of both passages while retaining a strong presence nonetheless. Finally, a good performance of “The Queen of Spades” doesn’t just feature solid singing, but an overall visual immersion that can {…} You really felt that she was “filling” the hall. You must be a registered user to use the IMDb rating plugin. But he wasn’t immediately at his best and seemed to struggle a bit in warming up to the task. Davidsen is probably one of the few who actually does with the added caveat that at 32, her voice is not a finished product as some might suggest. Conductor Vasily Petrenko managed all of this musical activity with great elegance and poise. I can understand that, I find his singing thrilling and very strong though in want of more nuances. He started off quiet and gentle in his scene with the countess, but then shifted to singing fortissimo as the tension built, an effect that allowed you to truly empathize with the Countess in this moment. She expanded on the opening recitatives leading up to the Andante molto cantible, her sound descrescendoing delicately and thus setting up the aria proper for a truly introverted approach.