Great popularity comes great responsibility, a fact which André Heller’s new Rosenkavalier for the Staatsoper seemed unable to forget.It was undoubtedly a production of the highest quality, beautiful to look at and directed with tasteful subtlety;

These flaws were often compounded by director Aletta Collins’ apparent indifference to character.Ms Collins approached the work first and foremost as a choreographer, rendering dramatic action subservient to physical movement.

Staatsoper Unter den Linden.Wolfgang Amadé Mozart, Die Zauberflöte.Libreto de Emanuel Schikaneder.August Everding, producción.Fred Berndt, escenografía (reconstrucción de la de Karl Friedrich Schinkel).

Directed by Achim Freyer, the production avoided the opera’s saccharine tendencies, instead offering a direct line to the primal terrors that many adults may still remember from childhood.Its grotesqueries were balanced by a light touch and a level of stylisation that kept everything just unreal enough.

The grand reopening of the Staatsoper Unter den Linden after a seven year refurbishment was undeniably an event of the highest importance in the cultural life of Berlin, but it was also only the latest in a long series of resurrections.

Teatro Colón.Kurt Weil: Ascenso y caída de la ciudad de Mahagonny (Aufstieg und Fall der Stadt Mahagonny).Ópera en tres actos.Libreto de Bertolt Brecht.Marcelo Lombardero, dirección escénica.Diego Siliano, escenografía.

Schiller Theater.Strauss: Die Frau ohne Schatten.Claus Guth, director.Burkhard Fritz (Emperor), Camilla Nylund (Empress), Michaela Schuster (Nurse), Roman Trekel (Spirit Messenger), Wolfgang Koch (Barak), Iréne Theorin (Barak’s Wife), Evelin Novak (Temple Guardian), Jun-Sang Han (Apparition of a Youth), Narine Yeghiyan (Voice of the Falcon), Anja Schlosser (Voice from Above), Karl-Michael Ebner (Hunchback), Alfredo Daza (One-Eyed Man) and Grigory Shkarupa (One-Armed Man).