A starry cast is hampered by Christof Loy‘s dour production of Rusalka in Barcelona
Richard Strauss’s “last romantic opera,” as he called Die Frau Ohne Schatten, is and has always been a problem child.
Not a fairy kingdom, but rather an unheated postwar Vienna ballroom transformed into an improvised recording studio: that’s the setting for Christof Loy‘s new production of Die Frau Ohne Schatten at Salzburg. The production is also (if not more so) notable for Christian Thielemann‘s virtuouso conducting of the Vienna Philharmonic and the hair-raising performances of…
Tell us: Filth or dementia?
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