Jesse Simon

Comenzó a escribir en Mundoclasico.com el martes, 21 de mayo de 2013. En estos 7 años ha escrito 223 artículos.

  • Alemania 03/10/2020

    Cold Passions

    Although Luca Francesconi’s Quartett production had undoubtedly been scheduled long before the first wave of the COVID pandemic, the opera, a claustrophobic and occasionally harrowing adaptation of Heiner Müller’s stage play of the same name, had an edge of lockdown madness that made it especially timely.
    20/10/2020
  • Alemania 27/09/2020

    Conceptual Baggage

    Although many of the images in this Walküre may have drawn on conceptual threads from Mr Herheim’s yet-unseen Rheingold, the staging stood admirably on its own. Regardless of whether or not the suitcases were the continuation of an element from Rheingold, they did an excellent job of mirroring the sense of desperate flight that pervades the opera: Siegmund from his pursuers, Siegmund and Sieglinde from Hunding, Brünnhilde from Wotan, Wotan from Fricka and the inevitability of his End.
    06/10/2020
  • Alemania 19/09/2020

    Musikfest 2: Storm and Serenity

    During the darkest days of the COVID pandemic’s first wave, however, Igor Levit also became one of the great folk-heroes of the lockdown thanks to a series of mini-recitals broadcast via his Twitter account. Although the gradual easing of restrictions meant that Mr Levit was able to realise his plan of taking the complete cycle of Beethoven’s piano sonatas on tour in this disrupted year of Beethoven celebrations, the memory of those lockdown performances gave his return to the concert stage in Berlin an extra sense of occasion
    29/09/2020
  • Alemania 29/08/2020

    Musikfest 1: A Cautious Return

    There was no question that it was great to hear Mozart performed once again by a live orchestra in a real auditorium, but the concert nonetheless seemed more a tentative step than a triumphant return, as though both audience and orchestra were finding their respective bearings in a world that had lost some of its reassuring familiarity. Indeed the civility of the concert hall and the thrill of having the final bars of a Mozart symphony coursing through one’s head on the walk back to the train was clouded almost immediately by the realisation that Potsdamer Platz station was swarmed by the lumpen dregs of an anti-face-mask protest which had taken place in Berlin that same day. As grateful as we may be to have music back in our lives, it is important to remember that, six months after the concert halls first closed their doors, we are still as far from ‘normal’ as ever.
    08/09/2020
  • 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
    02/03/2020