And since this *Sonnambula* calls for a truly exceptional setting, it has to be the Grand Avignon Opera Chorus. It stands out as a key element in the rhythmic tension driven by Beatrice Venezi\u2019s unyielding baton. And what of Switzerland in all this? Supposed to be the setting for the bucolic romances of this unexpectedly uninhibited light-hearted opera, it is transformed into a set design stripped down to the bare essentials and bathed in the skilfully balanced lighting of Christian Dubet. Yet it is omnipresent in the Swiss-inspired precision of the Milanese conductor\u2019s direction, which combines formidable efficiency with perfect aesthetic sensitivity. We must acknowledge that she has a magnificent instrument at her disposal: the Orchestre national d\u2019Auvergne. Attentive to rendering every Bellini-esque nuance in a score that spares no such detail, the orchestra\u2019s sections play their trump card of refinement and precision with a sense of dynamics that would be the envy of many great European orchestras!<\/p>\n\n\n\n
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(28\/01\/2022) Recensione di Roland Duclos. Et puisqu\u2019il faut un \u00e9crin superlatif \u00e0 cette Sonnambula, c\u2019est forc\u00e9ment le Ch\u0153ur de l\u2019Op\u00e9ra Grand Avignon. Il s\u2019impose comme un rouage majeur de la tension rythmique impuls\u00e9e d\u2019une baguette intraitable par Beatrice Venezi. Et la Suisse dans tout \u00e7a ? Cens\u00e9e abriter les amours 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