The staging is conventional and apart from for Kosky’s typical hectic, Eros-filled chaos, was rather an unspectacular accumulation of the mostly at-the-front-stage singing. The characters are divided into beautiful, strong, manipulative women and mostly weak, hyperactive, but extremely horny males. All act on the verge of a nervous breakdown, hormonal over-pressure, and constantly building-up lust.
Category: Aus dem Deutschen Opernland
The Bayreuth´s French Swan est parti sans le texte!
The Bayreuth´s French Swan est parti sans le texte!
Genuinely believing in the power of performing arts
Antje Schupp undoubtfully belongs to the young and promising generation of the contemporary German music theatre stage directors. Opera Views was happy to acquire “10 Questions for…” interview with this talented young woman and gladly presents it to our readers.
The terrifying night in the museum
The terrifying night in the museum. Antonio Vivaldi´s opera “Motezuma”, a 285 years old opera-excavation at the theatre in Ulm, Germany.
Hamburg Pamina cannot fly!
Pregnant Pamina cannot fly! Soprano Julie Fuchs was suspended from the title role of Pamina from the new production of the “Magic Flute” by Hamburg State Opera house.
A laugh through tears
Oxana Arkaevas our-of-the-road recital performance in the Podium of Theatee in Ulm By E. Pluta, March 28th, 2018 Armed with a suitcase, acting like a bum, an old woman hobbles onto the empty stage and begins with the wistful retrospect of the old Countess of Queen of Spades, remembering an aria (from Gretry) from her…
Lächeln unter Tränen
Ein gewöhnlicher Arienabend war das nicht, der „psychologisch-musikalisch-literarische Rundgang“, den die Sopranistin Oxana Arkaeva unter dem Titel Das edle Leid der noblen Frauen im Podium des Ulmer Theaters herausgebracht hat (Premiere: 17. März 2018). Losgelöst aus dem Zusammenhang der Stücke und konfrontiert mit den literarischen Texten ergeben die vorgestellten Arien oft einen ganz neuen Sinn.
The singer has to be able to create a space, a particular atmosphere around the personage he is singing!
German Baritone Johannes Martin Kränzle is particularly known for his intense artistic interpretations of complex operatic characters and is regarded as one of the leading baritones of his generation.
Bayreuth Triangle – Part 3 – “Die Meistersinger von Nürnberg”
Sudden knowledge strikes like lightning and makes one freeze: all this Nazi anti-Jewish propaganda was built on nothing but the air! A frightening realisation, considering its high human cost. At such a moment one can physically feel and realise a power of the theatre.
Bayreuth Triangle 2017-Part 2 – Parsifal! Do not let this chalice pass me by!
This last opera by Richard Wagner was specially composed adapting to the unique acoustics of Festspielhaus and exhibits composer’s message of universal love and eternal freedom. During the last “Parsifal” performance in August 1882 composer himself took the button and conducted the show from the transformation scene till the end. Soon afterwards he travelled to Venice, where on 13. February, the heart attack has terminated his life.
Bayreuth Triangle 2017 – Part 1 – “Tristan und Isolde” – Rich voices, minimalistic staging and 3D orchestra sound.
Thielemann leads and accompanies, firmly keeping all the dynamic reins in his hands. One could physically feel his love and devotion to the score in its smallest detail mastering a majestic, passionate, dreamy, explosive sound culminating in the most beautiful piano in Isolde’s death scene.
Celebrating Giuseppe Verdi !
Celebrating the great Giuseppe Verdi!
The final scene of Abigaille from “Nabucco” by G. Verdi
Westside story à la Wagner with happy end!
Dressed in the leather jacket, with large earphones and strumming on his guitar Wolfram von Stolzing reminds the Bernstein’s´ Tony. Jonas Kaufmann gives in this production his Stolzing debut and portrays a naive, warm-hearted, unconscious of his talents young men.
Singers, Staging, Orchestra 