The Prince of Regie, who’ll direct a new Vêpres siciliennes for the Royal Opera this fall, is 43 years old today.
Happy birthday Prince! Here’s hoping for a NY debut ASAP.
The ROH’s Pappano talks to BBC news about pressures on singers …
They have to be kidding awarding this woman a prize for this!
Draw your own impressions:
Sancho should bring the audience to tears with this aria, but this rendition is a flop. The recit is all wrong and the singer leaves me with the impression that he has no idea what he’s singing about (even though he is involved in a full production of the opera).
Here’s my impression: She’s 21, so chill the F out
It’s a NATIONAL competition for the METROPOLITAN OPERA, not a recital for a voice rep class!
So? It doesn’t guarantee anything. Latonia Moore and Bryan Hymel were both finalists (the latter a winner)…in 2000. Making it to the National Councils does not mean you are ready to go the next day. The judges clearly felt that this young lady had tremendous potential, and I’m inclined to agree with them.
But what is he doing directing an opera by Handel which no one will want to see?
He is rescuing it from being a mere endless, boring series of da capo arias.
You both are so tacky…. I love you.
And to turn it into such self-indulgent self-therapy at that! I don’t know how he got June Anderson to participate (and who knew should could dance?).
Is that even possible?
It’s the opera’s ONLY raison d’être.
But isn’t that one of those countertenors in the title role--Romanian Valer Barna-Sabadus, I believe? Why can’t they transpose it down for a tenor like they did in the 60s for Wunderlich and Alva? Oh, wait, there’s two countertenors!! Gross!
was wondering if they were cooing queens or real female singers.
nothing compared to 5 hours of Eliogabalo
And if he wants to, he can come to my place for a special birthday treat.
I liked his Parsifal very much indeed.
I did not like his Rusalka, at all.
At least it is of interest to me that he elicited a strong emotion both times whereas most of the time my reaction is either a) meh—, b) bilge.
Fröhliche Gebürtstag in either case Herr Herheim!
Or… Gratulerer med dagen!
I have only seen his RUSALKA (Monnaie), PARSIFAL (Bayreuth) and BOHEME (Norway) on video and found all of them infuriating, intellectually challenging, and ultimately very emotionally moving and effective. That is much more than I can say about MOST opera productions I see nowadays, especially “conventional” ones. As a rule I despise “interventionist” productions because the director is content using his concept where it works and just running through the rest. I have always found Herheim totally thoughtful. IMHO his RUSALKA production made better use of the libretto than Dvorak’s original conception. But then, I am one of those who feels that Opera is the ultimate form of drama. Happy birthday, Mr. Herheim!!
Personally, I loved his Salzburg production of Die Entführung aus dem Serail. Everyone talks about it being a flop but there are so many wonderful images. His detailed directing and imagery bring a freshness to Mozart’s music.
Hippolyte says: But what is he doing directing an opera by Handel which no one will want to see?
I flew to Dusseldorf to see it and it was so very worth it! And to answer your question: what he’s doing with it [the Handel opera] is simply showing how comical, whimsical, and utterly beautiful Xerxes can be. I saw it at the Dusseldorf opening night performance and the audience was on their feet when Herheim came out.
Aside (kind of at least…) I swooned when he took the stage. Not only is he a director of great talent and thoughtfulness, but he’s also incredibly gorgeous! Please tell me this translate to his indulgence in gay proclivities?
I, like many of you on this board, cannot wait for his first production in New York. Hell, i’ll even take one of his European hand-me-downs (especially his Lulu or Vêpres which I’m trying to make it to this fall). And if I bumped into him at Splash…all the better
If I may speak for Hippolyte, I think you can be Satisfied that his comment is
Is he the parterre-darling because he is gay and his productions are CAMP?
Spiderman says: Is he the parterre-darling because he is gay and his productions are CAMP?
There is that small matter of him being incredibly talented and creative…oh, and he’s gorgeous. Wasn’t sure about gay though.
And thanks Manou. Should have known. My bad!
Oh, he can’t be gay. I want him to be my husband.
In the long interview that accompanied the web stream of the Amsterdam Eugene Onegin, wasn’t there an allusion to Herheim having a (male) partner?
Or am I just projecting (swishful thinking)
What’s the scoop on herr Herheim’s next gigs and/or revivals next season? I’m sure he’ll be quite busy over the next few months between his new productions in Salzburg and London, but which companies are staging his revivals next season? (Operabase only mentions the Mastersinger.) I recall talk of his Parsifal being released commercially some time this year, but any word of that happening with his Xerxes? Such an incredibly fun production…I could watch it over and over again!
Watching Herheim’s work is like a drug: the first hit only makes you want more.
2015 he is doing Hoffmann in Bregenz.
Any casting info, Feldmarschallin?
Feldmarschallin -- Is the Bregenz Hoffman to be on the floating stage or in the (indoors) theater?
Satisfied -- since Bayreuth teamed with Opus Arte, the parrten has been to release a DVD (and now blu-ray) about one year after it was filmed (in time for the next Festival). So if the pattern follows, we should see it by the end of this summer.
No idea on casting but I assume it is as usual outdoors and by bad weather indoors.
Casting in a French opera? Do you really CARE?
This has BRILLIANT written all over it.
The Meistersinger production comes to the Paris Opera in the 2014/2015 season.
That’s great to hear! Really wanted to make it to Salzburg this summer but decided to get engaged instead.
Only time will tell if the right decision was made…
The David Alden production of Meistersinger for Netherlands early this summer should make Stefan’s idea of one at best an afterthought or on average a cipher by comparison.
Is it a competition? Nobody informed me.
Let me see, any other comment to submit to make La Cieca squirm? Herheim is regietheater, almost Ken Burns style for dilettantes, not the real thing. And he should be gifted to have Piotr Beczala star in every production of his, whether it offer something right for Beczala’s voice and temperament or not.
Regarding Herheim’s excellent Amsterdam production of Onegin I have a question for you learned Parterrians: In act III after Onegin’s “I returned and went, like Chatsky, straight from a ship to a ball” there is a short choral comment, quite fitting in this production, before the chorus introduces “Knyaginya Gremina”. What’s the story here? I remember hearing that choral comment only (is it the same music?) in the old Russian Onegin movie. I have never heard it in any recordings or in any of the stage productions I have seen (and I have seen several in Russia). Is it even by Tchaikovsky?
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