Jesse Simon

Comenzó a escribir en el martes, 21 de mayo de 2013. En estos 7 años ha escrito 219 artículos.

  • Alemania 09/02/2020

    The Weight of Entertainment

    Great popularity comes great responsibility, a fact which André Heller’s new Rosenkavalier for the Staatsoper seemed unable to forget. It was undoubtedly a production of the highest quality, beautiful to look at and directed with tasteful subtlety; yet despite towering performances from Camilla Nylund and Günther Groissböck, it could never quite dispel its own sense of dutiful entertainment
  • Alemania 26/01/2020

    Behind the Scenes

    Jens-Daniel Herzog, whose new production opened recently at Dresden’s Semperoper, did not seem especially interested in arguments. His willingness to unearth interesting themes only to leave them unexplored resulted in a staging with a lot of wonderful set-up and a frustrating lack of follow-through. Although the evening could boast tremendous orchestral playing and a remarkable cast – including arguably one of the best Beckmessers of the past decade – the staging left one too many of its propositions unresolved
  • Alemania 24/11/2019

    Genre Exercises

    The production that emerged was a vast, big-budget throwback, an opera done up in a style of filmmaking that had reached its zenith some six decades ago. If the evening was entertaining, it was due more to its dream cast of principals and the monumental musical direction of Daniel Barenboim than the staging’s slavish celebration of spectacle
  • Alemania 15/11/2019

    Alone Together

    In each of the past four seasons the Deutsche Oper has managed to bring at least one new work to the stage. Of those works, which have included new operas from Aribert Reimann and Georg Friedrich Haas, Heart Chamber is perhaps the most conspicuously challenging, both in its logistical demands and in its composer’s restless determination to avoid the easy paths of musical and dramatic expression
  • 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