She’s no basic britch
Samantha Hankey’s Composer is the standout in the Wiener Staatsoper’s episodically sublime Ariadne auf Naxos revival.
Anja Kampe
16 pieces since 2013 — in 9 roles, at 10 companies, most often at Mariinsky Theatre.
16
pieces
9
roles
10
companies
14
years
By role
Role Ariadne
Role Irene
“The most significant dramatic creation since Les Huguenots”
Awaiting the return of Parsifal to the Met, “Trove Thursday” hops to the other end of Wagner’s oeuvre with a recent Rienzi der letzte der Tribunen.
Role Isolde
It’s Brittany, bitch
Sparks flew when the San Francisco Opera opened their new production of Richard Wagner’s monumental Tristan und Isolde on Saturday, October 19th, at the War Memorial Opera House.
The rich are different from you and me
Whether you love the 2018 Berlin Staatsoper Tristan and Isolde depends on what you think the opera is about.
Sex please: we’re British
The finer performances of Tristan und Isolde have a way of sounding like a four-hour improvisation, the fruit of a single moment of inspiration that makes one forget how emotionally manipulative and painstakingly crafted the music really is.
By Adriel
7 comments
Role Leonore
I wake up screaming
Töt erst sein Weib!” shrieks Anja Kampe as Leonore during the very first moments of Andreas Homoki’s ingenious production of Beethoven’s only opera, Fidelio, at Opernhaus Zürich.
Role Leonore/Fidelio
Once more with feeling
We humans tend to dislike uncertainty, therefore there is something comforting going to opera revivals; you know exactly what you are going to get.
Role Minnie
Headless “Girl” in a topless bar
Today’s listener has heard the scores of the classic Westerns that borrowed from Puccini (and Wagner!) to create the sound of the myth of the West.
Role Ortrud
Space oddity
In Lohengrin, populism comes to an apocalyptic end on the Bavarian stage
Role Senta
A dark drab dud
I never imagined I’d see such a rote park-and-bark Wagner production created in 2020!
Role Sieglinde
No one who speaks German could be an evil man
If Frank Castorf‘s work on Der Ring des Nibelungen at Bayreuth accomplishes nothing else, it should serve as a sort of loud disorganized reminder of the dangers of indulging in the intentional fallacy.
Ring à la russe
Wagner is becoming an important calling card for Valery Gergiev and the Mariinsky Theatre.