Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

La Bohème, Manitoba

Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.

Arizona Opera Presents Don Pasquale in Tucson

On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

OPERA TODAY ARCHIVES »

Reviews

Scene from Götterdämmerung [Photo by Matthias Creutziger courtesy of Sächsische Staatsoper Dresden]
22 Mar 2010

Changing conductors bring color to Dresden Ring

It was a bit of intrigue that recalled the Wagners at home back in Bayreuth’s Haus Wahnfried.

Der Ring des Nibelungen

Semperoper, Sächsische Staatsoper Dresden

Above: Scene from Götterdämmerung

All photos by Matthias Creutziger courtesy of Sächsische Staatsoper Dresden

 

Fabio Luisi, music director of Dresden’s Semper Opera with a contract that was to run through the 2010-2011 season, was slated to conduct two spring cycles of Wagner’s Ring des Nibelungen with the company.

In February, however, Semper administrators signed a contract with German television for a New Year’s Eve concert by the Saxon State Orchestra, the pit band at the Semper Opera. Conductor will be Christian Thielemann, already named to succeed Luisi in Dresden in 2012. Luisi, told nothing about the contract, was understandably miffed and resigned his Dresden position — including the Ring engagement — immediately. This left the opera with less than a month to find replacement conductors the Wagner cycles.

c93e193e3d.pngScene from Siegfried

In a world poor in great Wagnerians, the Opera did amazingly well by engaging several maestros, each of whom brought his particular stamp to the performances. Jonas Alber, who has conducted numerous Ring cycles at lesser houses, stepped in on short notice for the March 10 Rheingold, the opening opera of the tetralogy.

With the Saxon State Orchestra at his disposal, of course, Alber could hardly do anything wrong. Dating back to 1548, it is Germany’s oldest orchestra and among opera ensembles without its equal. Alber proved himself an experienced craftsman who brought coherence to the fragmented drama that Rheingold is.

Things moved in quite another direction when John Fiore took over the podium for Walküre. The still-youthful American, now at home at Germany’s Deutsche Oper am Rhein, the joint venture that serves both Düsseldorf and Duisberg, is a passionate conductor who brought vivid animation to the tangled passions of the chapter of the story focused on the incestuous love match of twins Sieglinde and Siegmund.

79d4894091.pngScene from Die Walküre

Next in line was Israel’s Ascher Fisch, who although not allowed to conduct Wagner in his homeland, has built a reputation as a major interpreter of his works in other countries. (Fisch conducts the new Tristan slated for Seattle in August.)

Alber returned to go beyond himself in making the final Götterdämmerung on March 17 overwhelming.

Watching the 100-plus musicians of the Saxon orchestra from the balcony in the fury of Act Three of the opera made clear that when Wagner is on stage in Dresden the ensemble is simply a member of the cast. The impassioned involvement experienced here — four harps, eight horns! — confirmed the world-class quality of the Semper Opera, currently celebrating its 25th season in the rebuilt historic house reduced — like the rest of Dresden — to ruins in the night of February 13, 1945.

bcbdb3cbbd.pngScene from Das Rheingold

This Ring is further the first complete staging of the cycle in Dresden since World War Two. (In the earlier spring Ring Fisch conducted both Siegfried and Götterdämmerung.)

Wes Blomster

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):