A problem with scheduling an opera-intensive trip is that you don’t always hear and see the shows in optimum order.
It will come to no surprise to followers of the direction of Stefan Herheim (or to readers of La Cieca’s gushing fangirl appreciations of his work) that his Stuttgart production of Der Rosenkavalier was as “delightfully busy” as we have come to expect.
Although she began her career nearly 25 years ago recording and performing lots of baroque music, I was surprised to see German soprano Dorothea Röschmann promoted as the star attraction of an all-Purcell concert Sunday at Carnegie Hall.
The key to enjoying Bellini’s I Capuleti e Montechi is to do a hard factory reset and reformat your brain to forget all other works based on Romeo and Juliet.
After viewing Stefan Herheim’s production of Rusalka, I’ve got a new category: “regie slick.”
Cher public, you may remember that about 18 years ago a parterre writer called Dr. Repertoire came up with a handy list of rules for stage directors.
Joined by the Choir of Trinity Wall Street, The English Concert concluded the US leg of its current tour at Carnegie Hall Sunday with a complete performance of the darkly moving Theodora, Handel’s penultimate oratorio.
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.
All right, I admit it; I finally broke down and read the program notes for the Ring in the Bayreuth program book.
Rupert Christiansen (not pictured) writes, “…a right old mash-up of Meistersinger, confusing, contorting and complicating something which should communicate with radiant emotional and intellectual simplicity.”
Well, my dears, if you thought Frank Castorf‘s Ring or Stefan Herheim‘s Meistersinger were outré, then wait until you get a load of the radical take on Don Carlos by Peter Stein for the Salzburg Festival!
La Cieca doesn’t branch out into The Film very often (even though she is quite the ardent cinephile) but the recent release—or, at any rate, the reaction to the recent release—of Baz Luhrmann‘s film of The Great Gatsby served to crystallize a few ideas bubbling about in your doyenne’s brain.
Before there was a Stefan Herheim Boheme (which I reviewed a couple of weeks back for this site), there was a Herheim Eugene Onegin, recorded in June 2011 at De Nederlanse Opera.
Death and its terrible aftermath hang like a pestilent fog over director Stefan Herheim’s fascinating and chilling production of Puccini’s La Bohème for Den Norske Opera.
“Yet the evening’s first words, heard in the set-piece Ombra ma fui—like all of Xerxes’ arias sung with monarchic sprezzatura and amoral relish by Stella Doufexis…”
“Though Mr. Herheim’s work is rigorous, it is also fun, and this Rusalka is serious but the opposite of dour.”
Many American opera-lovers take the “Grand Tour”—a pilgrimage to Europe to attend opera at its great houses—Peter Grimes at the Royal Opera in London or Otello at La Scala in Milan, or perhaps for the more well-heeled a visit to the summer festivals of Glyndebourne, Salzburg or Aix-en-Provence.
Stefan Herheim’s production of Parsifal for Bayreuth is the regie Holy Grail—a production that completely fulfills the promise and purpose of Regietheater.
Nathan Gunn (not really pictured) made his debut as Eugene Onegin in Cincinnati Opera’s production of Tchaikovsky’s opera last night. He certainly has the physicality for the part and the vocal potential. In this performance he sang well and expressively but without the heft to fully project over the orchestra.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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