Jesse Simon

Comenzó a escribir en el martes, 21 de mayo de 2013. En estos 6 años ha escrito 196 artículos.

  • Alemania 26/01/2019

    Buried Secrets

    La Sonnambula’s lightness of spirit and undemandingly elegant music have been pleasing audiences for nearly two-centuries, and the Deutsche Oper’s production certainly did not neglect to entertain. The energetic performances and the taut, cohesive approach to storytelling yielded few if any dull moments.
  • Alemania 13/01/2019


    Mr Furrer’s frequently magnificent score was equally steeped in the textural and harmonic language of the same era. Yet if the opera was indebted to the foundational themes and approaches of the previous century, it seemed less a throwback than a careful distillation. While Claus Guth’s attractively dark production was occasionally too keen to drag the story in unexpected directions, Violetter Schnee remained a claustrophobic, mesmerizingly intense work of modern theatre.
  • Alemania 13/12/2018

    Visions of the Resurrection

    Philharmonie. Maija Einfelde: Lux aeterna. Mahler: Symphony No. 2 in C minor. Lucy Crowe, soprano. Gerhild Romberger, alto. MDR-Rundfunkchor Leipzig. Berlin Philharmonic. Andris Nelsons, conductor.
  • Alemania 01/12/2018


    While Mr Pelly chose to present the opera more or less exactly as it appears in its most current version, his adherence to the libretto did not translate into anything as conservative as a period recreation. The first three acts took place in monochromatic spaces made of dark textures and highlighted with cool blues and greys. The appearance of a yellowish wall in the Olympia act and some large yellow and brown spinning spirals, apparently borrowed from the 1960s Batman TV series, were the only notable splashes of colour.
  • Alemania 02/12/2018

    Art and Entertainment

    The Semperoper’s new production of Ariadne auf Naxos was, above all, a triumph of musicianship. While David Hermann’s staging found a satisfying balance between the dynamic comedy of the prologue and the ambitious conceptual arrangement of the opera-proper, it was the luxurious sound of the Sächsiche Staatskapelle, the strong ensemble cast – highlighted by Daniela Sindram’s magnificent Komponist and Daniela Fally’s effervescent Zerbinetta – and the detailed, idiomatic musical direction of Christian Thielemann that located the emotional grandeur beneath the genial surfaces of what may be Strauss’ most approachable operatic work.