Christian Ocier
Christian Ocier emerged fully formed one eros-filled evening from the nocturnal thrum of Tristan und Isolde’s Liebesnacht. During the Tag half of his life’s equation, he doubles as a pâtissier and a nanophotonic materials science Ph.D. student, a degree which he will soon complete at the University of Illinois at Urbana-Champaign. Christian’s serious love for opera was sparked during his mid-teens after listening to Carlo Maria Giulini’s 5-Act Don Carlo. Eventually, his tastes gravitated to the dramas of Wagner, Strauss, Bartok, Janacek and Berg. To him few things make Nacht more transcendent than great performances of Tristan, Die Frau Ohne Schatten or Lulu—the trifecta of operas he adores the most. His tortes, entremets, and entrées honoring great musicians include La Stemme Divine (Nina Stemme), Le Grande Lise (Lise Davidsen), and Ravioli all’Ambrogio Maestri.
Dmitri Tcherniakov’s interpretation of Wagner’s Der Fliegende Höllander presents an engrossing character study about Senta and the Dutchman’s struggles against their insular community’s stifling conformism.
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Jay Scheib’s Augmented-Reality Parsifal is a cautionary reminder that technological innovation shouldn’t absolve directors from the exacting work of deriving intelligent and fascinating theater from the source material.
In Nike Wagner’s essay “The Sounding Silence,” the German dramaturge argues that “the longing for deathrepresents the central motif” of her great-grandfather’s opera Tristan und Isolde.
At the heart of Tobias Kratzer’s incisively rollicking production of Tannhäuser lies a metanarrative that maps Wagner’s early political and artistic challenges onto its hero’s philosophical struggles.
As revivals of the composer’s sprawling works represent a daunting expense for many opera houses, exceptionally cast recordings of such concert performances serve as valuable documents that foster appreciation for his achievements.
Witnessing William Christie guide his orchestra and singers was truly one of this performance’s greatest highlights.
A work that skimps on profundity need not be devoid of entertainment value, and Madrid’s charismatic soloists and musicians more than capably deliver on this front.
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And what a sonically fascinating and vibrant Atys it is!
Marc-Antoine Charpentier and Thomas Corneille’s Médée is a monument of the 17th century French baroque lyric tragedy.
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Joyce DiDonato’s Eden immerses listeners within a centuries-spanning musical meditation that channels the majesty of our natural world.
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Stefan Vinke brings to Tristan an indefatigable heldentenor of sturdy, muscular brilliance and a physical intensity that allowed him to fearlessly traverse this complex character’s broad emotional compass.
In San Francisco Opera’s new Così fan tutte, the elements that most visibly read as “American” were a penchant for slapstick humor, overcooked blocking, and an abundance of cartoonish period costumes that hobbled the opera’s first act.
In their realization of Alcina, Harry Bicket and his ensemble recreated a dramatically vivid and musically nuanced character study out of the opera’s central figures.
In the month and a half leading to Bernard Haitink’s passing on October 21, my AirPods constantly channeled a musical festival of sorts centered on the Dutch giant’s expansive discography.
Starting March 19, Vocal Arts DC’s latest virtual concert lavishes listeners with a sumptuous recital of art songs from the Norwegian soprano Lise Davidsen.
Imagine my surprise then when I discovered a new recording of Tristan und Isolde released by Navona Records, a small label based in New Hampshire that primarily focuses on recitals of chamber music, solo works, and smaller ensemble pieces.
The first part of a chat with the dramatic mezzo-soprano.
Anna Netrebko’s voice to me sounds like a very expensive chocolate covered strawberry.
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