Ditlev Rindom

Comenzó a escribir en Mundoclasico.com el jueves, 25 de septiembre de 2008. En estos 11 años ha escrito 34 artículos.

  • 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.
  • 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