Frank Hilbrich, one of Germany’s leading opera directors, discusses his move to Gelsenkirchen’s Musiktheater im Revier, his vision of opera as a “sanctuary of real-life connection,” and his commitment to nurturing diverse audiences and young talent. From his “old-school” approach to reinterpreting classics to innovative, cross-genre programming, Hilbrich outlines a roadmap for sustainable, socially engaged music theatre.
Category: Aus dem Deutschen Opernland
A Murderer of Women as a Tormented and Wonderfully Singing Hero
Otello is not evil, nor is he clinically ill. He is a man living in a system that offers him no support – an outsider who has never learned to cope with his emotions. His tragedy is this: he loves – but he does not trust.
Bayreuth Festival: Wagner’s Vision Enhanced: Parsifal in the Age of AR
Jay Scheib’s 2024 Bayreuth Festival production of Wagner’s Parsifal boldly merges tradition with augmented reality, pushing opera’s boundaries. Viewers wearing AR headsets are immersed in a fantastical world where virtual elements intertwine with live performance, transforming Wagner’s work into a multi-layered experience. While occasionally overwhelming, moments of poetic brilliance emerge. With an outstanding cast led by Andreas Schager and Ekaterina Gubanova, supported by Pablo Heras-Casado’s nuanced conducting, this Parsifal raises pivotal questions about opera’s future and technology’s role in classical performances, demonstrating the art form’s power to adapt and captivate in the digital age.
Bayreuth Festival: Family Feuds and Child Exploitation in Wagner’s Epic
Standout musical performances shine through controversial production Performance on August 20, 2024 By Oxana Arkaeva Production fotos by @Enrico Nawrath Read in Spanish The Bayreuth Festival’s productions of Wagner’s Das Rheingold have evolved significantly over time. Initially adhering to Wagner’s original vision under his family’s guidance, the festival saw a dramatic shift with Wieland Wagner’s “New Bayreuth”…
Semper Oper Dresden: The Jewish Woman from Toledo
Glanert skillfully utilized a plot that served as an ideal template for a deeply moving narrative, complemented by excellent composition. Guided by his visual interpretation of the text and drama, Glanert’s score features a palette of dark tones occasionally interrupted by vibrant red-yellow-orange splashes.
Free in wanting, free in doing, free in enjoying
“Free in wanting, free in doing, free in enjoying”. This production plays with the idea of blurring boundaries and the interplay between reality and fiction. Kratzer suggests that everything is theater, and everyone within the theater acts accordingly.
A brilliant conclusion of the Bayreuth 2023 “Ring” cycle
The “Ring” by Victor Schwarz is dedicated to demystifying its characters. Schwarz immerses us in a concrete, contemporary, profoundly human family drama populated by highly ambivalent characters.
Self-immolation and burning scores at the theatre in Bremen
The vocal ensemble, mainly composed of house members, presented good singing. Above all, Sarah-Jane Brandon as Prima Donna and Ariadne.
Corona and the Theatre. I-Witness report. There is the light at the end of cultural corona tunnel!
Oxana Arkaeva talks with Tatjana a.o. on the live interview on ArkNet YouTube about German Regietheater, the future of the profession of the stage director, the impact of the corona on the theatres, and the prognosis of soon reopening of the theatres in Germany that came true.
Corona and culture. Contemporary on-site eyewitness’s report
When the time will come, and we are allowed to reopen, we would have to decide whether it is still economically reasonable for us to bring out the production we have planned or just let the “Orfeo” seen only by a few, to perform. We have already planned a long-term strategy. We have to make an essential decision, whether we want to play in front of 50 people, or whether we will be closed again. I don’t think anyone can answer this question at the moment. In terms of the audience, I’m less worried. People will come back, as they will be very much hungry for live music and performance.
Corona and Culture. 10 Questions for Jörg Löwer
Interview with Jörg Löwer, the President of the Union of German Stage Members in Germany. Foto: Jörg Löwer. @Peter Vogel. By Oxana Arkaeva Following two previous interviews with Rolf Bolwin, a former Managing Director of the German Theater Association – Federal Association of German Theater and Orchestra and Kay Metzger, the intendant of the theater in Ulm, this…
Corona and the Opera: 10 questions for Kay Metzger
Interview with Kay Metzger Intendant at the Theater Ulm, Germany 27. Juli 2020 Read in Spanish Stage director and Intendant Kay Metzger was born in Kiel in 1960. He grew up in Bonn and Mannheim and studied theater science in Munich. There he began his career as an assistant to acclaimed German stage director August…
Corona and the Opera – Opinion
After the initial shock at the beginning of social look down in Germany after the March 13th and an attempt by the government to offer a temporarily (three months) financial support to self-employed freelancers, including artists and art workers, a broad-range, feverish artistic activities over-flooded the world of an Internet.
Corona and the Opera
I am convinced that the State will try to maintain such institutions like the City and State theaters. This broad landscape of public culture offerings is a unique selling point for Germany. You won’t just put that at risk, especially since it would also be a very negative signal for society and communities.
Cinderella is a Handy Woman
Cendrillon (Cinderella) by Jules Massenet Municipal Theater in Ulm, Germany Premiere on December 19th, 2019 Pictures: Martin Kaufhold BY OXANA ARKAEVA Read in Spanish on ProÒpera The fairy tale opera by Jules Massenet is composed to a French libretto by Henri Caïn and is based on Charles Perrault´s tale of Cendrillon from 1698. Routed among others in the Greek story by Strabo…
One 16 years old and three murders in just 100 minutes
The first Premiere of 2019 Opera Festival Season at the Munich State Opera featured one of the most challenging and exciting operas of the 20th century: “Salome” by Richard Strauß. Conducted by parting general musical director Kirill Petrenko and staged by Polish director Krzysztof Warlikowski, the evening was a true celebration of the orchestra and the mastery of ist leader.
Singers, Staging, Orchestra 