When did you last really laugh out loud at an opera?

When a lecherous count makes up his mind …

"This new production of Le comte Ory is pure musical theatre. It has so many plus points and is a good tip for audiences both from a musical as well as a theatrical perspective. When did you last really laugh out loud at an opera?" asked a reviewer, Petr Veber, on the website Brno město hudby.

"Lenka Flory, a theatre director with little opera experience, brought a breath of fresh air to this project and to opera directing in general. Not only did she bring so many good ideas and purposeful, inspirational directing, but in many places she also literally threw herself into the choreography," continued Petr Veber.

Olga Janáčková, a reviewer from the website Opera Plus, highlighted the quality of the singing in Le comte Ory. "At the opera's premiere in Brno we were certainly satisfied with the high standard of the young singers we watched (...) The twenty-nine-year-old Hungarian tenor, György Hanczár, winner of the József Simándy singing competition in Szeged in 2016, masterfully handled the heights and the proper melodic ornamentation," wrote Olga Janáčková, continuing: "We have nothing but praise for the vocal performances of the lyrical soprano Kateřina Kněžíková as Countess Adéle, the dark alto of Václava Krejčí Housková in the temperemental breeches role of Isolier, the flexible mezzo-soprano of Jana Hrochová as Ragonde,  the resonant baritone of Roman Hoza as Ory's friend Raimbaud, and Boris Prýgl as the energetic Tutor, whose promising bass will certainly mature to even more sonorous qualities."



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