Meticulously shaped, beautifully tinted
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.
12 pieces since 2009 — in 7 roles, at 4 companies, most often at Metropolitan Opera.
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.
There is a moment about 75% of the way through the Rome Narrative where you can almost literally hear Tannhäuser’s stomach turn.
The moral of Lohengrin is clearly set out: Don’t talk on your wedding night. Even more important, don’t sing. Happily, at Lyric Opera of Chicago, Johan Botha in the title role and Amber Wagner as Elsa of Brabant ignored this advice.
The proceedings took the virtue of longevity too much to heart; the night stretched on interminably.
The wild tempest that whipped and drenched the audience as it exited the Met after Tuesday’s season premiere of Wagner’s Der Fliegende Holländer mirrored the finer features of the evening.
A hefty thunderclap shook Tanglewood’s Koussevitzky Shed just as Andris Nelsons raised his baton for the third act of the weekend’s concert Die Walküre.
My takeaway from this evening is that I want to hear a lot more from Amber Wagner.
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