Jesse Simon

Comenzó a escribir en el martes, 21 de mayo de 2013. En estos 6 años ha escrito 216 artículos.

  • Alemania 01/11/2019

    Trials of the First Family

    When the newly created Adam and Eve share their final duet at the end of Haydn’s Die Schöpfung, they sing with such unfeigned optimism that it becomes possible to forget what happens next; their future in a paradise free from sin, shame and ownership of property seems assured. When the same two characters appear at the beginning of Alessandro Scarlatti’s Il Primo Omicidio, they know only mourning. Yet banishment from paradise turns out to be only the beginning of their torment; by the end they will also have lost both their sons, one doomed to eternal exile, the other victim of the first murder
  • Alemania 13/10/2019

    Descriptions of a Struggle

    Approaches to tragedy have varied considerably in the time since Euripides, but the fundamental goal has remained largely consistent: one emerged from 'The Bassarids' slightly dazed, dismayed perhaps by the immutability of fate, but strangely elated from the experience of having watched it unfold. If Henze and his librettists drew their inspiration from the conventions of Greek theatre, the new Komische Oper production offered a stylish and highly accessible demonstration of how relevant those conventions remain in the twenty-first century.
  • Alemania 03/10/2019

    The Sound of the Suburbs

    The new production of Die Lustigen Weiber, which opened the Staatsoper’s 2019–20 season, provided an elegant overview of the work’s numerous charms without quite overcoming its limitations. David Bösch’s well-conceived, well-executed staging revelled in the libretto’s potential for physical and situational comedy while Daniel Barenboim’s musical direction had an effervescence that, at various points, suggested Rossini without the invigorating showmanship, or Weber without the fascinating undercurrents of darkness
  • Alemania 24/09/2019

    Backgrounds and Foregrounds

    Frank Castorf's debut production for the Deutsche Oper Berlin, a season-opening staging of La Forza del Destino, may not have been quite as controversial, but it remained consistently provocative in the best sense of that word. If it did not work especially well as a staged drama – the emotional heavy lifting was entrusted almost entirely to Verdi’s score – its caustic intelligence and consummate skill made for a wholly compelling work of theatre
  • Alemania 15/09/2019

    Musikfest 4: A Meeting of Equals

    François-Xavier Roth has distinguished himself as a master constructor of concert programmes, mixing works of different centuries, nationalities and styles with uncommon ingenuity. He has also proved himself a champion of modern music, pairing works by living composers with pieces from the standard repertoire in a way that enriches our understanding of both. For his most recent appearance – with Les Siècles, the Paris-based period instrument group of which he was a founder – the intellectual rigour of the programme was matched by an unconcealed joy in the performances that made this one of the most engaging concerts at this year’s Musikfest