http://www.chicagotribune.com/features/lifestyle/chi-0610020093oct02,1,452988.story?coll=chi-leisuretempo-hed
Perdón - es inglés
Citar:
Lyric's `Iphigenie' a stark, psychological drama
By John von Rhein
Tribune music critic
Published October 2, 2006
. . . Carsen and designers Tobias Hoheisel (sets and costumes) and Peter Van Praet (lighting co-designer) -- all of whom helped to make last season's "Orfeo ed Euridice" so memorable [¿memorable?
todo era negro - las ropas, etapa, etc.] -- move the non-action from classical Greece to a timeless abstract theater realm that deftly mirrors the inner torment of the characters [los cantantes se lanzan contra la pared muchas veces 
] . . . The set consists of towering dark panels on which the names of Iphigenie and her murdered parents are scrawled in chalk. The dress code is basic black . . . To animate [¿para animar? ¿slo-mo??? } . . . Carsen employs non-singing actors and dancers to mime . . . the violent clashes between the Greeks and Scythian barbarians [siempre asesinato y violación ] . . . when the minimalist set [nada – naaaaaaaaaaaaaaaaaaaaaaaadaaaaaaaaaaaaa ! ! ! ! ! !] is raised at the end to admit a blaze of pure white light, the effect is wondrously cathartic, as Gluck no doubt meant it to be. [¿Gluck escribió direcciones de la iluminación? ? ?] . . . . . . [Susan] Graham put her own stamp on the part, bringing both nobility and vibrant vocal beauty to her affecting performance [buena, peroooooooo. . . nada es nada] gifted American baritone Lucas Meachem (replacing Simon Keenlyside) introduced an uncommonly youthful, robust-voiced Oreste [se empuja]. . . Pylade, Paul Groves sang sweetly and stylishly [¡un buen tenor!] . . . French conductor Louis Langree made an impressive Lyric debut [¡no - la música era insípida!], enforcing crisp unity between stage . . .
By John von Rhein
Tribune music critic
Published October 2, 2006
. . . Carsen and designers Tobias Hoheisel (sets and costumes) and Peter Van Praet (lighting co-designer) -- all of whom helped to make last season's "Orfeo ed Euridice" so memorable [¿memorable?
todo era negro - las ropas, etapa, etc.] -- move the non-action from classical Greece to a timeless abstract theater realm that deftly mirrors the inner torment of the characters [los cantantes se lanzan contra la pared muchas veces ] . . . The set consists of towering dark panels on which the names of Iphigenie and her murdered parents are scrawled in chalk. The dress code is basic black . . . To animate [¿para animar? ¿slo-mo??? } . . . Carsen employs non-singing actors and dancers to mime . . . the violent clashes between the Greeks and Scythian barbarians [siempre asesinato y violación ] . . . when the minimalist set [nada – naaaaaaaaaaaaaaaaaaaaaaaadaaaaaaaaaaaaa ! ! ! ! ! !] is raised at the end to admit a blaze of pure white light, the effect is wondrously cathartic, as Gluck no doubt meant it to be. [¿Gluck escribió direcciones de la iluminación? ? ?] . . . . . . [Susan] Graham put her own stamp on the part, bringing both nobility and vibrant vocal beauty to her affecting performance [buena, peroooooooo. . . nada es nada] gifted American baritone Lucas Meachem (replacing Simon Keenlyside) introduced an uncommonly youthful, robust-voiced Oreste [se empuja]. . . Pylade, Paul Groves sang sweetly and stylishly [¡un buen tenor!] . . . French conductor Louis Langree made an impressive Lyric debut [¡no - la música era insípida!], enforcing crisp unity between stage . . . Simon y Agatarco, necesitamos su inspiración ! ! ! ! ! ! ! !
Mañana . . . Turandot I con Gruber y Galouzine
http://www.chicago-splash.com/main_feature/Lyric_Opera_of_Chicago_Gala_Opening_of_Turandot.php
Mañana – luego, foreros!
Muchos besos
y 
](./images/smilies/eusa_wall.gif "Brick wall")
