A Misremembered Past

Huguet, Le nozze di Figaro © 2021 by Matthias Baus
For its first run of live performances, the production benefitted from both the buzz of a real audience and a generally superior cast to that of the première.Vincent Huguet’s staging, however, remained aggressively bland and perplexingly uninspired, a triumph of sets and costumes over ideas and characters.

The Magician

Herheim, Das Rheingold © 2021 by Bernd Uhlig
In April of last year, the Deutsche Oper announced that their new production of 'Das Rheingold', the first installment in Stefan Herheim’s highly anticipated new 'Ring Cycle', would have to be postponed.

Igor Stravinski, el constructor de sonidos (II)

Igor Stravinsky © George Grantham Bain Collection
Stravinski creía en la encarnación del diablo, en el infierno (en el sentido literal y dantesco), en el purgatorio y en el paraíso;se persignaba incesantemente y santiguaba a los que le rodeaban.

Igor Stravinski, el constructor de sonidos

Igor Stravinsky © Dominio público
No vivo ni en el pasado ni en el futuro: estoy en el presente.No sé lo que me deparará el mañana;solo puedo saber lo que es cierto para mí hoy: a eso me comprometo.

Musikfest 2: Storm and Serenity

Igor Levit © 2019 by Beethoven Academy
During the darkest days of the COVID pandemic’s first wave, however, Igor Levit also became one of the great folk-heroes of the lockdown thanks to a series of mini-recitals broadcast via his Twitter account.

Memoria y ¿vigencia? de Pierre Boulez

Kawka nos ofrece un Marteau de gran modernidad, perfección técnica y relieves, partiendo de la idea interpretativa que articula estilísticamente los registros boulezianos de los años 1956 y 1964, pero otorgándole una definición instrumental mucho más de nuestro tiempo, confiriendo a Le Marteau sans maître una radicalidad tímbrica mucho mayor, con más acusada personalidad en cada solista.

Behind the Scenes

Herzog, Die Meistersinger © 2020 by Ludwig Olah
Jens-Daniel Herzog, whose new production opened recently at Dresden’s Semperoper, did not seem especially interested in arguments.His willingness to unearth interesting themes only to leave them unexplored resulted in a staging with a lot of wonderful set-up and a frustrating lack of follow-through.

Genre Exercises

Szifron, Samson et Dalila © 2019 by Matthias Baus
The production that emerged was a vast, big-budget throwback, an opera done up in a style of filmmaking that had reached its zenith some six decades ago.If the evening was entertaining, it was due more to its dream cast of principals and the monumental musical direction of Daniel Barenboim than the staging’s slavish celebration of spectacle

Alone Together

Guth, Head Chamber © 2019 by Michael Trippel
In each of the past four seasons the Deutsche Oper has managed to bring at least one new work to the stage.Of those works, which have included new operas from Aribert Reimann and Georg Friedrich Haas, Heart Chamber is perhaps the most conspicuously challenging, both in its logistical demands and in its composer’s restless determination to avoid the easy paths of musical and dramatic expression

The Sound of the Suburbs

Bösch: Die Lustigen Weiber von Windsor © 2019 by Monika Rittershaus
The new production of Die Lustigen Weiber, which opened the Staatsoper’s 2019–20 season, provided an elegant overview of the work’s numerous charms without quite overcoming its limitations.David Bösch’s well-conceived, well-executed staging revelled in the libretto’s potential for physical and situational comedy while Daniel Barenboim’s musical direction had an effervescence that, at various points, suggested Rossini without the invigorating showmanship, or Weber without the fascinating undercurrents of darkness