Jesse Simon

Comenzó a escribir en el martes, 21 de mayo de 2013. En estos 6 años ha escrito 205 artículos.

  • Alemania 30/05/2019

    Our Lady of the Revolving Restaurant

    One would be forgiven for thinking Mr Ahlbom had come to opera from a long career providing the entertainment at children’s birthday parties. At times the staging seemed little more than a variety show padded out to opera length, complete with contortionists, acrobats and a disappearing act. It wouldn’t have been surprising if someone had tried to saw Dulcinée in half.
  • Alemania 02/06/2019

    A Cautious Entertainment

    Staatsoper Unter den Linden. Verdi: Rigoletto. Bartlett Sher, director. Michael Fabiano (Duke of Mantua), Christopher Maltman (Rigoletto), Nadine Sierra (Gilda), Jan Martiník (Sparafucile), Elena Maximova (Maddalena), Corrina Scheurle (Giovanna), Giorgi Mtchedlishvili (Monterone), Adam Kutny (Marullo), Andrés Moreno García (Borsa), David Oštrek (Count Ceprano), Serena Sáenz (Countess Ceprano). Men of the Staatsopernchor. Staatskapelle Berlin. Andrés Orozco-Estrada, conductor
  • Alemania 28/04/2019

    The Water’s Edge

    Deutsche Oper Berlin. Oceane. Music by Detlev Glanert. Libretto by Hans-Ulrich Treichel, after Theodor Fontane. Robert Carsen, director. Maria Bengtsson (Oceane von Parceval), Nikolai Schukoff (Martin von Dircksen), Christoph Pohl (Dr Albert Felgentreu), Nicole Haslett (Kristina), Albert Pesendorfer (Pastor Baltzer), Doris Soffel (Madame Luise), and Stephen Bronk (Georg). Chorus and Orchestra of the Deutsche Oper Berlin. Donald Runnicles, conductor
  • Alemania 13/04/2019

    No Cure for Opera Addicts

    The story, adapted from The Duenna by Richard Brinsley Sheridan, features characters and devices familiar to even the most casual opera-goer: a protective father and a headstrong daughter, a poor but noble suitor, a conniving housekeeper, mistaken identities, ridiculous schemes and multiple marriages.
  • Discos

    A monumental tribute to a singular conductor

    Between 1939 and 1945, Wilhelm Furtwängler and the Berlin Philharmonic gave fifteen concerts intended for radio broadcast. The bulk of those concerts occurred during or after 1942, when the tide of the Second World War had started to turn, a time of air raids, power shortages, uncertainty and fear. Whether or not we believe the horrors of the times were reflected in these concerts, they remain some of the most vital and intense performances of the standard repertoire committed to tape in the twentieth century.