“When there’s so much to get right, unsurprisingly a lot can and, as we all know, does go wrong.”
Brigitte Fassbaender‘s sound is piquant and, I’d hazard to guess, instantly recognizable to anyone familiar with her work.
Helga Dernesch is the singer whom I largely credit for rekindling my love for opera.
Simone Mayr’s Medea in Corinto, a curious work of 1813, has been revived by Will Crutchfield’s new enterprise, Teatro Nuovo.
I was puzzled by my initial exposure to the Medea of Aribert Reimann, a work of 2010.
Aribert Reimann’s 1978 opera Lear, based of course on Shakespeare’s titanic tragedy King Lear, is a major achievement in modern operatic scoring.
With the help of our friends at ArtHaus Musik, the Deutsche Oper Berlin have really been emptying out their archives and that’s certainly all for the good.
In 2006, Aribert Reimann was offered a commission to create a new work for Vienna State Opera. After initial hesitation—”The creative process can sometimes be rather a struggle and isn’t necessarily a pleasant experience”—he went to work. After a flirtation with a Camus drama, he settled on Franz Grillparzer’s version of Medea as his subject…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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