Ditlev Rindom

Comenzó a escribir en Mundoclasico.com el jueves, 25 de septiembre de 2008. En estos 16 años ha escrito 36 artículos.


Aida da camera

Bolognini: Aida © Michele Crosera, 2019
Conductor Riccardo Frizza emphasised the intimacy of Verdi’s opera, in contrast to the bombast associated with performances at the Arena di Verona or New York’s Metropolitan Opera.Italian theatres are small, he argued – an observation certainly true of La Fenice and the Cairo opera house, where Aida was given its world premiere

Wagner’s Cage

Theorin as Brünnhilde © Luciano Romano, 2019
'Die Walküre' is a blessing and a curse for the opera director.Here is every familiar Wagnerian cliché, with all the temptation for them to be lavishly reproduced: breast-plated women, supernatural intrigue, complex monologues, long orchestral interludes, and heavy displays of vocal declaration.

Tannhäuser at the golf course

Stephen Gould © 2018 by Toni Suter y Tanja Dorendorf
Kupfer’s fifth attempt at the work offers an explicitly contemporary interpretation.The staging thus contrasts the world of Venusberg against the bourgeois environment of Wartburg, where the male characters play golf and Elisabeth takes piano lessons.

Two drifters, off to see the world

Visser: Manon © T+T Fotografie, 2019
As Vitter suggested, this is an opera in which both main characters are constantly shadowed by dreams of alternative lives they might lead: first with one another, in Paris;then the rural fantasy evoked by Des Grieux in “En fermant les yeux”;

A half-baked classic, lovingly reheated

María Rey-Joly y Edgardo Rocha © 2019 by Edoardo Piva
Paer demonstrates a secure melodic gift.Orchestral writing is often punchy, and the libretto’s novelty goes some way towards explaining Agnese’s contemporary fame.The reasons for the opera’s neglect are also obvious, however.

The Devil’s Advocate

Why do we stage operatic works from the past?The most immediate answer might be because they continue to generate new meanings for modern audiences, who bring their own 'horizon of expectations' to bear upon the operas of yesterday.

The Royal Road to Recovery

The Royal Opera House's 2011-12 season began in splendour, finished in triumph but suffered painfully from a drab, unimaginative and cancellation-riddled middle.For many London opera-goers, it appeared that Covent Garden had blown its budget on high-profile stagings of Il Trittico, Les Troyens and the Ring Cycle but had little left to satisfy regular visitors throughout the long winter months except safe revivals of over-familiar productions with casts that offered great professionalism but little excitement.

Cross-dressing and double-crossing

The Royal Opera House’s current season has been marketed as a celebratory Olympic event, with a series of operatic cycles cunningly planned to time with the festivities this summer.In practise, however, the season has been marked by a series of cost-saving revivals of popular titles and some disappointingly high-profile cancellations - most painfully, by Anja Harteros, who has already withdrawn from two roles this year.

High Dives and Belly-Flops

After nearly six months without a new production, two arrived at once at the Royal Opera House.Strictly speaking, neither of these shows were exactly premieres (both having been staged previously at continental festivals), but they felt like a gust of spring air after the bleak mid-winter of solid revivals and high-profile cancellations that have characterised the current season.


Antonio Pappano © Ibermúsica
At the centre of the Royal Opera House’s season this year is a set of operatic cycles inspired by the Olympic rings.Beginning with the new production of Il Trittico and climaxing with the first revival of Keith Warner’s Ring Cycle, the spring centrepiece was the three Mozart-Da Ponte comedies, rarely seen in succession in London or elsewhere.