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TOP3 Worst Cast Rating 2018

Pubblished on
9 December 2018

Some days ago, we saw the four opera productions that reached the highest Cast Rating score on 2018. Today it’s time to see the cast that the critics disliked the most!
As you can notice on BravOpera, it’s more common that critics are easy to express positive than negative judges, therefore rarely the score goes under 50. It can also mean that the average quality of the main opera houses which BravOpera follows is high. Due to those issues, even the third prize goes to a production with a score above the passing grade.

Third 66/100
The Opéra national de Paris this year decided to revive the beautiful Tristan et Isolde production by Peter Sellars with Bill Viola’s videos. Unfortunately, according to the critics the cast wasn’t the best one. Despite the important names, the main issue was the lack of voices homogeneity: even if the main couple was portrayed by two very good singers, their voice features doesn’t match well. Tristan was the Austrian tenor Andreas Schager and his fellow citizen Martina Serafin was Isolde. Renè Pape was König Marke.

Second 50/100
The Salome production at Staatsoper Unter den Linden suffered for last minute defection of Christoph Dohnányi due to artistic difference with the director Hans Neuenfels. The mise en scene was source of discussion for the critics and didn’t earn a common approval. Even the cast had some issues, mainly due to the main role portrayed by Ausrine Stundyte, a perfectible Salome. With her sang also Marina Prudenskaya as Herodias, Gerhard Siegel as Herodes and Thomas J. Mayer as Jochanaan.

First 46/100
The Royal Opera House present at the beginning of the year a very unlucky revival: Tosca. Adrianne Pieczonka was the main character, Joseph Calleja was Cavaradossi and Gerald Finley Scarpia. The critics focalized their disapproval on the extremization of characters’ personality and the rough use of their vocal instruments. Richard Morrison for “The Times” sum up the production with this sentence: «The magnificent sets cannot make up for the lack of passion in the acting and poor timing in this flaccid Puccini opera»…

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