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Dave Billinge
MusicWeb International, May 2013

Audience enthusiasm is justified for the orchestra, the intricate set and all the singers make a splendid job of this superb. There are many dramatic ensembles plus the cast have to be very athletic to progress around the stage. The two ‘making of’ documentaries are well worth watching for a change and go a long way to explain the reasons for this radical look at a Rossini opera. © 2013 MusicWeb International Read complete review

Lawrence Devoe, January 2013

Graham Vick and Stuart Nunn’s vision is very much of our times and makes the drama even more immediate. The singing is uniformly first rate and bouquets can be readily tossed to all of the principals.Roberto Abbado’s musical direction of the Bolognese musicians is superb in the best Rossinian tradition.

Opus Arte nearly always gives us outstanding video recordings and Mosé in Egitto is no exception. Colors are explosive and details are tops. Camerawork on this busy stage is superb.

Opus Arte gives us a nicely done twenty-minute featurette on The Making of Mosè in Egitto. I would consider this mandatory viewing given the significant new concept for this production. Further, it is a blueprint for how innovative productions should be introduced to a new audience.

The Vick-Nunn complete dramatic remake of this nearly two hundred year old Rossini masterpiece is gripping, powerful and utterly creative…what really carries the day is the consistently gorgeous singing, dramatic intensity and spot on pacing of this production. Mosè in Egitto is as moving today as it was at its premiere in 1818 and I would encourage all opera fans to see this one now. © 2013 Read complete review

Nicholas Sheffo
Fulvue Drive-in, January 2013

The great Gioachino Rossini takes on Biblical territory in Mose In Egitto (aka Moses In Egypt) which makes for an interesting, honest and lesser-known telling of the story in Operatic terms that works well enough…The makers have gone all out to make this work with great Conductor Roberto Abbado…really delivering the best possible version of the material with a fine cast…I was glad to see it because it never makes the tale phony or preachy. © 2013 Fulvue Drive-in Read complete review

David Denton
David's Review Corner, December 2012

Rossini might have dressed his opera in biblical garb, but it is still a story of the conflict of love and patriotic duty that had become the basis of Italian opera. That the plight of the Jews in Egypt is a mirror image of all that is happening today in the Middle East has sparked director, Graham Vick, to think afresh about the opera, the enclosed booklet delving into his thought process, as the present day political and religious leaders use ordinary people as pawns to satisfy their own personal agenda for power. In its original form the Egyptian Pharoh’s son, Osiride, falls in love with the Israelite girl, Elcia and that is about to come to an end when the Pharoh is minded to give the Israelites their freedom to leave Egypt. Now he has to reverse that decision to keep his loved one in Egypt by all means possible. The set used by Vick must have cost a fortune, its scale, complexity and attention to detail of a magnitude few opera houses could imagine. Indeed I guess it is the viewer of this video who sees far more than was visible to the audience. In his updating Vick retains everything inherent in the original opera, the attempt to depict the parting of the Red Sea, that caused howls of derision in the work’s first performance, here substituted by the parting of the wall that here prevents the Israelites leaving Egypt, the very opposite to the present situation in Gaza. Visually the casting is certainly not perfect, but it does possess some very good singers. They have that ‘straight from the heart’ quality, the baritone, Alex Esposito, as the Pharoh, giving a most impressive performance of his big arias, and is more than matched by Dmitry Korchak as Osiride, his tenor voice so typically Italian. Strangely Rossini did not give Moses a commanding role, Riccardo Zanellato making the very most of all he is given, and though looking incongruous as Aaron, Yijie Shi is vocally pleasing. The remaining roles of Amaltea finds Olga Senderskaya in good form, and Sonia Ganassi makes the most of the not very plausible character of Elcia. Very good orchestra and chorus of the Teatro Comunale di Bologna with Roberto Abbado conducting. The film crew do all they can to capture the high activity level on stage. There is also a standard DVD on OA1093D. © 2012 David’s Review Corner

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