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Andrew Quint
Fanfare, November 2009

Prokofiev’s best-known opera. The Love for Three Oranges is…an ensemble piece.

To read the complete review, please visit Fanfare online.

Andrew Quint
Fanfare, September 2009

The magisterial presence of Sir Willard White notwithstanding, most of the cast is either French or Russian, and the performance possesses a Gallic lightness with a Slavic edge. …the production seems alert to the fact that Prokofiev wrote The Love for Three Oranges in an atmosphere of anti-Wagnerism: the demon Farfarello’s very name suggests Fafner, and the Prince must survive an encounter, not with a dragon, but with a terrifying cook, armed with a formidable ladle and played to perfection by Richard Angas, with pendulous breasts and spindly legs. Sergei Khomov represents Trouffaldino as a cross between Leporello and Loge. The two conspiring baddies, Léandre (François Le Roux) and Princess Clarice (Natascha Petrinsky), are suitably diabolical. As Ninette, the princess who actually survives the emergence from her giant orange, Sandrine Piau makes a lovely impression, visually and vocally.

The chorus seems to be everywhere, doing everything, a feast to look at and musically precise. The Rotterdam orchestra, energetically conducted by Stéphane Denève, sounds terrific.

A real gem, urgently recommended. © 2009 Fanfare Read complete review

Nate Goss
Fulvue Drive-in, April 2009

The Love for Three Oranges is a solid performance of Prokofiev’s stylish and creative comedic Opera using the French libretto from its 1921 premiere and using the Rotterdam Philharmonic Orchestra along with the Chorus of De Nederlandse Opera and runs just over 2-hours on this 50GB Blu-ray disc.  Musically the work is phenomenal here and ranks as some of Prokofiev’s best work, however the premiere of this piece was never fully well-received and even years later this production comes across rather stale at times, the visuals never seem to fully line up with the orchestral movements and the results can be highly mixed, it is perhaps fair to say that the four acts and prologue are a bit uneven and the fascination that Prokofiev had for the abstract did not translate well enough to make this one of this most recognized pieces, regardless of how well this particular production is.

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