Ditlev Rindom

Comenzó a escribir en Mundoclasico.com el jueves, 25 de septiembre de 2008. En estos 12 años ha escrito 36 artículos.

  • Italia 26/05/2019

    Aida da camera

    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
  • Italia 11/05/2019

    Wagner’s Cage

    '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. But as generations of directors and scholars have demonstrated, 'Die Walküre' is also a work crying out for creative reinvention.
  • Suiza 05/04/2019

    Tannhäuser at the golf course

    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.
  • Suiza 07/04/2019

    Two drifters, off to see the world

    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”; next Manon’s dream of high society, followed by Des Grieux’s wish for religious escape; then the dream of financial freedom in the gambling scene, and fantasies of escape from Le Havre; and finally wistful reminiscences of the lives they once had. Manon and Des Grieux are in that sense almost mirror images of one another
  • Italia 17/03/2019

    A half-baked classic, lovingly reheated

    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. Agnese is poorly paced, with the plot frequently difficult to follow and far too many musical episodes that disturb or delay crucial action.