Olga de Kort. Melodical treasures and romantic pathos of Rubinstein’s The Demon (review; bachtrack.com)

Anton Rubinstein – The Demon (concert performance) – 24 January 2016, De Munt/ La Monnaie, Brussels – Orchestre Symphonique et Choeurs de la Monnaie, Mikhail Tatarnikov, Conductor – Kostas Smoriginas / Demon, Ante Jerkunica / Prince Gudal, Boris Rudak / Prince Sinodal, Alexander Vassiliev / Sinodal’s servant, Veronika Dzhioeva / Tamara, Christianne Stotijn / Angel, Elena Manistina / Tamara’s Nurse.
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‘There were times when Anton Rubinstein’s operas were admired and staged all over Europe. Former triumphs made place for total disinterest during the interbellum when new favorites replaced the romantic dramas of the Russian composer. Nowadays, the European public doesn’t know the musical legacy of this virtuoso pianist and founder of the Conservatory in Saint Petersburg well enough to ensure his place in a list with the most popular opera composers. The Belgium première of The Demon (1871) can change this situation as the opera answers the most demanding expectations: glowing, romantic music, countless possibilities for soloists to demonstrate their vocal and dramatic talents, impressive choirs and a far from ordinary plot about obsessive love of a demon. A happy ending is also out of question as the elimination of the Demon’s rival and his willingness to make peace with heaven still guarantee no happinnes.’… Read the full review on Bachtrack.

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