Cher Public

Dark side of the moon

Finally some video of Stefan Herheim‘s Salome production shows up on YouTube.

From the same YouTube account, a clip from a Willy Decker Tristan und Isolde, presumably the same as or something similar to the Decker production coming to the Met in 2016-2017.

  • Camille

    T&I looks like two stoner teenagers at the beach, tripping on either the moon, or it’s a big strobe ball from Studio 54, so, kind of fun!

    As a child I was carefully instructed the moon was made of green cheese. This conclusively proves that only the eyes are green. A lotta fun!

  • DonCarloFanatic

    I presume the Salome production is in some measure a tribute to Melies’ A Trip to the Moon, but otherwise I can’t make much sense of this excerpt. The sense of threat from Salome remains only in the music.

    • Rory Williams

      This is why I LOVE Parterre. I had never seen the Melies, DCF, and, yes, you’re completely right, that’s got to be what they are referring to. Which just makes it even better. And thanks for wising me up, now I’ll spot that everywhere (already remembered two other refs that went right over my head). Seriously, when you’re playing catch-up, Parterre is the place to head. Thanx!

  • bang_bang_bang

    And here is excerpt of Herheim’s Rheingold from Riga. Don’t think it was ever posted here.

    • bang_bang_bang

      Oh, doesn’t work. Again:

      • papopera

        Norse Herheim spreading his venom to the Latvians, just in case they forget that the war and occupation terminated almost seventy years ago. The monsters (toting Mein Kampf?) , Wilhelm II perhaps, hammer & sickle and Hankenkreuz, only Anne Frank and Quisling are missing. Yet, I’m not too sure.

        • Some of the folks in Riga might have a slightly different idea of just when the “occupation” ended.

          • papopera

            They’re celebrating Führer Hitler’s birthday, April 20, 1889. Agreed about the Letts, they have been dominated by other powers for centuries.

  • louannd

    Is that Anja Kampe? I love her singing in this clip!

    • Feldmarschallin

      Yes it is and she sounds great in this. Have not always enjoyed her but here she is in good voice. But when she puts pressure on the voice above the staff it tends to spread even here for a brief moment. The voice itself is nothing special but she is always 150% committed. She looks stunning in the strapless dress but I would say that Stemme is the reigning Irish princess today.

      • Cocky Kurwenal

        Wow -- I agree, Kampe has never struck me as anything better than adequate in vocal terms, but here she is pretty special, more so as the clip goes on. Although the position isn’t in general terribly conducive to good singing, it does show how much better she is when relaxed!

        I absolutely love the video.

        • schweigundtanze

          I saw Kampe’s Sieglinde a couple years ago in DC, and I thought her marvelous. I’m always perplexed by people’s negative opinions of her. Perhaps I just caught her on a good night?

  • I like the Tristan clip. Having recently experienced the marvelous Peter Sellars and Bill Viola production, I’m a big believer in the power of video projections in this opera.

  • Jungfer Marianne Leizmetzerin

    I was lucky enough to be at the Premiere of the Salzburger Osterfestspiele „Salome“. The star was really Simon Rattle and the Berliner Philharmoniker, actually playing it like 20th century music – more like „Sacre du printemps“ than „Der Rosenkavalier“. It’s a pity they left for Baden-Baden. The „Parsifal“ at this year’s Osterfestspiele was one of the worst things I have ever seen and Thielemann was horrid, as was his noisy orchestra.

    But Herheim! I have loved everything I have seen from him, and saw his glorious Bayreuth „Parsifal“ every year it was shown (five years; it is gone now). It’s too bad they didn’t get a decent video of it. The Arte TV broadcast is full of glitches and not good enough for commercial release, but you can find it on the Internet. Also Christopher Ventris (who sang the first four years) was much better – physically as well as vocally – than Burkhard Fritz, who was in the 2012 broadcast.

    Also this „Salome” clip just doesn’t begin to do justice to what they did with the Bühnenbild and video effects. I was one of the few people who truly loved it.

    As for Decker, he just makes one production of an opera and recycles it from opera house to opera house for years – decades even, like Otto Schenk. Herheim is constantly making revisions and is, for me, in a much higher class than Decker. I spoke to him at the Premierenfeier after his Graz „Manon Lescaut“ in October, which had good ideas but didn’t totally work (and the awful singing was no help), and he was almost in tears because he was so upset. I respect him and Peter Konwitschny more than any other directors working these days. I can’t wait for Konwitschny’s „Attila“ in July! And, of course, Herheim’s „Meistersinger“ at Salzburg!