Search results for: "Tomasz Konieczny"
Instead of following the story, we in the audience spend most of the evening thinking “What?? Why is that happening?”
By Henson Keys
11 comments
This Holländer offers neither a clear narrative vision for the work nor a sense of turbocharged drama; it simply sits on the Met’s cavernous stage as a dull gray mass.
Tomasz Konieczny stars as the accursed Dutchman in Wagner’s haunting ghost story.
By La Cieca
Tomasz Konieczny plays the title character, a goldsmith who is possessed by his jewelry, in a live videocast of Paul Hindemith’s opera.
By La Cieca
Gianandrea Noseda leads seasoned Wagnerians in Andreas Homoki’s stark production of Die Walküre for Zurich Opera.
By Rick Perdian
Performance of January 18, 2015. Conductor: Peter Schneider. Production: David McVicar
With: Peter Seiffert, Iréne Theorin, Albert Dohmen, Tomasz Konieczny, Petra Lang.
By La Cieca
From the Vienna State Opera: Adam Fischer conducts Christian Franz, Linda Watson, Tomasz Konieczny, Herwig Pecoraro and Jochen Schmeckenbecher.
By La Cieca
Adam Fischer leads Christopher Ventris, Ain Anger, Waltraud Meier, Linda Watson and Tomasz Konieczny.
By La Cieca
With Nina Stemme, Jonas Kaufmann and Tomasz Konieczny conducted by Franz Welser-Möst.
By La Cieca
Soprano Erin Wall died in early October, a month shy of her 45th birthday; Trove Thursday remembers her with a 2012 broadcast of Kaija Saariaho’s shimmering L’Amour de Loin.
Christian Thielemann conducts Anna Netrebko, Piotr Beczala, Tomasz Konieczny, Georg Zeppenfeld and Evelyn Herlitzius.
By La Cieca
Kicking off Der Ring des Nibelungen from the Vienna State Opera.
By La Cieca
New productions of Aida, Die Zauberflöte, and Don Giovanni and Met premieres of The Fiery Angel and Dead Man Walking headline the Metropolitan Opera’s 2020–21 season.
By La Cieca
A sense of celebration was definitely in the air last Thursday at the Vienna State Opera.
In this recital, the Polish bass-baritone Tomasz Konieczny and his pianist Lech Napierala present the world premiere recording of Stanislaw Baranczak‘s Podróz Zimowa (Winter’s Journey), which weds the poet’s meticulously crafted poetry to the music of Franz Schubert.
The opera proved somewhat puzzling—the score representing more a collage of fragmented and incidental musical ideas, and the libretto a turgid, slow-moving mass of purple prose.
Blame it on the Madonna-Whore Complex, cher public, but this years most hotly-contested parterre box “Pubie” award ended in a tie!
By La Cieca
Cycle II represented an embarrassment of musical riches.
At the Metropolitan Opera’s Götterdämmerung on Saturday afternoon, the fires which consumed the Gods burned lukewarm.
Stefan Vinke’s Siegfried was not so much brawny and terrestrial, but heady and mercurial
Wagner’s Ring is an artistic masterpiece that is peerless in its ability to continually reveal layers of musical, theatrical, and philosophical insight
Austin McCormack‘s lascivious choreography outshone a tepid and tedious staging of Saint-Saëns’s old-testament epic.
The Metropolitan Opera delivers on the promise of Wagner’s Gesamtkunswerk in a revival of Robert Lepage’s Ring.
Assembling casts for three works: Wagner’s Tristan und Isolde for Karita Mattila, Mussorgsky’s Boris Godunov, and Aribert Reimann’s Troades.
