Jesse Simon

Comenzó a escribir en Mundoclasico.com el martes, 21 de mayo de 2013. En estos 5 años ha escrito 193 artículos.

  • 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.
    12/12/2018
  • Alemania 25/11/2018

    Laser Guided Melodies

    These flaws were often compounded by director Aletta Collins’ apparent indifference to character. Ms Collins approached the work first and foremost as a choreographer, rendering dramatic action subservient to physical movement. The extended accompanied recitatives were often carelessly handled, allowing the political and familial crises of the story to go largely unnoticed: the passion of Hippolyte for Aricie was underdeveloped and Phèdre’s illicit desire for her step-son was unconvincing. At its worst, the staging was merely awkward: Phèdre’s contorted lurching in the third act barely even conveyed cartoon anguish. Even some of the big dance sequences seemed oddly flat when measured against the rhythmic vivacity of Rameau’s music.
    06/12/2018
  • Alemania 05/10/2018

    Muted Madness

    In addition to being one of the great operas of the twentieth century, Wozzeck is also one of the most resilient: between Georg Büchner’s devastating dramatic strokes and Berg’s endlessly rewarding score it can withstand nearly any directorial flight of fancy. Ole Anders Tandberg, who directed the new production that opened the Deutsche Oper’s new season, seems to have accepted this fundamental truth. Instead of his usual bleak humour and confrontational imagery, he opted for a low-key almost deferential approach
    25/10/2018
  • Alemania 07/10/2018

    Art and Craft

    Staatsoper Unter den Linden. Cherubini: Médée. Andrea Breth, director. Sonya Yoncheva (Médée), Charles Castronovo (Jason), Iain Paterson (Créon), Elsa Dreisig (Dircé), Marina Prudenskaya (Néris), Sarah Aristidou and Corinna Scheurle (Attendants to Dircé). Staatskapelle Berlin. Daniel Barenboim, conductor
    22/10/2018
  • Alemania 30/09/2018

    Fatal Obsession

    With minimal directorial intervention, the opera could be turned into a dark, fetishistic tale of male obsession and that, in the end, is what Mr Carsen’s production turned out to be. But to get there, he played the first two and a half acts as straight as possible. There were only a few minor moments of divergence from the libretto to suggest that Mr Carsen was planning his own twist on the twist ending
    15/10/2018