150 Jahre musste „Rienzi“ auf sein Bayreuth-Debüt warten. Nun trifft Wagners frühe Grand Opéra auf Fake News, Macht und Massenverführung – musikalisch überwältigend mit Andreas Schager und Nathalie Stutzmann, szenisch zwischen Aktualität und Bilderflut. Vor Wagner war eben schon Wagner.
Tag: #opera
There was Wagner Before Wagner
It took 150 years for Rienzi to make its Bayreuth debut. Now Wagner’s early grand opéra meets fake news, power and mass manipulation – musically overwhelming with Andreas Schager and Nathalie Stutzmann, theatrically caught between contemporary relevance and visual overload. Before Wagner, there was already Wagner.
High School Instead of Village Idyll: Donizetti’s Love Potion in Bregenz
The Bregenz Festival with premiere Gaetano Donizetti’s opera L’elisir d’amore on August 17, 2026. Directed by Anna Kelo, the production reimagines the story set in a high school, focusing on themes of love and identity. The cast showcases impressive vocal talents, and the audience responded enthusiastically.
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.
Salzburg Festival: Puccini’s Emotional Odyssey
Puccini “Il Trittico” and Asmik Grigorian’s tour de force performance as Lauretta, Giorgetta, and Suor Angelica.
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.
Singers, Staging, Orchestra 