Ditlev Rindom

Comenzó a escribir en Mundoclasico.com el jueves, 25 de septiembre de 2008. En estos 11 años ha escrito 31 artículos.

  • Ópera y Teatro musical

    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. Rather than being a repository of fixed, timeless meaning, an operatic work embraces a variety of interpretations which reflect the changing relationship between object and observer. A different answer could be out of sheer historical curiosity: to discover why certain pieces exerted such fascination for previous audiences and to reflect, in a self-conscious fashion, upon how popular tastes and expectations have changed over time. We might wonder, however, whether these two positions can be reconciled and if we can honour the different tastes of a bygone era yet still entertain and engage the paying consumers of today. Even if we choose to settle for an homage to the past, though, how can we do so without being restricted by the material reso
  • Ópera y Teatro musical

    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. It was lucky, then, that the shows which ended the season were nearly all winners that left one's palate refreshed and eager for the next season to start. Pick of the bunch, production-wise, was Robert Carsen's fizzing new production of Falstaff (shared with La Scala), which updates the action to the 1950s. Carsen justifies his deployment of this current theatrical cliche with an acute depiction of class rivalry and social mobility: Falstaff is a tweed-clad aristocrat down on his
  • Ópera y Teatro musical

    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. Whilst the house continues its tradition of saving its most glamorous performances for the summer booking period, it whetted our appetite with solid revivals of two of its most recent hits. Laurent Pelly’s production of La Fille du Régiment was the toast of the town when it premiered in 2007 and has already returned with nearly the same spectacular cast. Its ironic treatment of opéra-comique conventions and its emotional investment in the moments of pathos have made it a hit with audiences worldwide and judging by the audience reaction, it continues to draw new spectat
  • Ópera y Teatro musical

    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. In his speech marking the presentation of the 2012-2013 schedule, Kaspar Holten expressed his desire to continue increasing the number of new productions at the house, and that can only be warmly welcomed by those who have been plagued by a recurrent sense of déjà vu in the preceding months. Jossi Wieler and Sergio Morabito’s staging of Rusalka is hardly new -it was premiered in 2008 at the Salzburg Festival- yet anyone who followed the press coverage from the opening night might have believed otherwise. The (apparently mild) booing it received is certainly unusual at Covent Garden, yet disappointed spectator
  • Ópera y Teatro musical


    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. Excitement was dampened, however, by the realisation that they would be presented not by one creative team, but rather in the form of the existing productions - already frequently revived over the past few years. Moreover, the operas were not presented in their order of composition (further undermined the interest of seeing them in this proximity) making the project seem more like the result of cost cutting than something truly celebratory. Perhaps with a visionary director such as Richard Jones and a single cast that united the three works, this might have been something extraordinary; instead the result was three solidly cast nigh