Jesse Simon

Comenzó a escribir en el martes, 21 de mayo de 2013. En estos 5 años ha escrito 171 artículos.

  • Alemania 04/03/2018

    Death and the Maiden

    Staatsoper Under den Linden. Strauss: Salome. Hans Neuenfels, director. Reinhard von der Thannen, set/costume designer. Gerhard Siegel (Herod); Marina Prudenskaya (Herodias); Ausrine Stundyte (Salome); Thomas J. Mayer (Jochanaan); Nikolai Schukoff (Narraboth); Annika Schlicht (Page); Dietmar Kerschbaum, Michael Smallwood, Linard Vrielink, Andrés Moreno García, David Oštrek (Five Jews); Adam Kutny, Ulf Dirk Mädler (Two Nazarenes); Arttu Kataja, Dominic Barberi (Two Soldiers); David Oštrek (A Cappadocian); Corinna Scheurle (A Slave); and Christian Natter (Oscar Wilde). Staatskapelle Berlin. Thomas Guggeis, conductor
  • Alemania 11/02/2018

    Countdown to Ecstasy

    Staatsoper Unter den Linden. Wagner: Tristan und Isolde. Dmitri Tcherniakov, director. Andreas Schager (Tristan), Anja Kampe (Isolde), Ekaterina Gubanova (Brangäne), Boaz Daniel (Kurwenal), Stephen Milling (King Marke), Stephan Rügamer (Melot), Adam Kutny (Steuermann), Linard Vrielink (Young Sailor / Shepherd), Kristin Becker and Mike Hoffmann (Tristan’s Parents). Staatskapelle Berlin. Daniel Barenboim, conductor
  • Alemania 21/01/2018

    The Secret Shame

    Yet if Schreker’s command of large-scale orchestral writing was generally well-served by the performance, the staging was uninterested in making a similar argument for his skills as a dramatist. Mr Bieito was, perhaps, too much in thrall to his own predilections and, in the production’s least striking moments, one could sense an almost wilful indifference to the libretto. Mr Bieito’s basic idea, for all its blatant attempts to be scandalous, had tremendous potential, but the staging might have been that much more successful if even slightly more effort had been made to align the concept with the story.
  • Alemania 01/02/2018

    Late Arrivals

    In 'Tapiola' Mr Slobodeniouk crafted a tightly-coiled performance that cast aside the work’s dark majesty in favour of something more agitated and impulsive. The pace was brisk, but the rhythms emerged with a woozy fluidity, the violins danced with a jittery energy and the few intrusions of brass and timpani were genuinely arresting. Sibelius’ evocation of the forest spirit’s realm can often sound like a place of elemental stillness, but the forest conjured by Mr Slobodeniouk on this evening swarmed with elusive, omnipresent life.
  • Alemania 20/01/2018

    Organised Crimes in Dangerous Times

    Mr Tandberg’s last production for the Deutsche Oper, a fish-fixated take on Lady Macbeth of Mtsensk, demonstrated a knack for quirky imagery and uncomfortable brutality, often so close as to be inseparable. His Carmen followed a similar approach, although it seemed less interested in moving the action too far outside its traditional milieu. The soldiers may have carried machine guns, and the factory workers were now tasked with sharpening knives instead of rolling cigarettes, but Carmen still wore her red dress, Escamillo was still a bull-fighter, and the story was set in a world that would not seem wholly foreign to anyone familiar with the plot.