What made the evening baffling is that the staging -directed by Franziska Kronfoth and Julia Lwowski- was clearly the product of considerable technical skill
A new production of 'Der Schatzgräber' at the Deutsche Oper, was brought to life by director Christof Loy and conductor Marc Albrecht, the team who, in 2018, turned Korngold’s 'Das Wunder der Heliane' into both a surprise success and perhaps the most rewarding instalment in the Deutsche Oper’s ongoing series of early twentieth century ‘rediscoveries.’
Si 'Le Prophète' se representa más o menos como se debe, la obra sigue atrayendo al público.Pero eso está ligado a la presencia de algunos grandes o excelentes cantantes y a las exigencias de restablecer los cortes impuestos por una tradición espuria.
One would be forgiven for thinking Mr Ahlbom had come to opera from a long career providing the entertainment at children’s birthday parties.At times the staging seemed little more than a variety show padded out to opera length, complete with contortionists, acrobats and a disappearing act.
El resultado fue que una obra como Tannhäuser, que conmueve se esté o no de acuerdo con lo que narra y cómo lo narra, me resultó, sobre todo, de una frialdad soberana salvo en los momentos destinados a Keenlyside.
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.
El fallo fundamental de la producción es que transforma en cómicos muchos momentos que dudo mucho que lo fueran en la mente de Shostakóvich.Es cierto que es una risa amarga, pues todo lo que vemos es radicalmente sórdido, pero incluso esa risa que se estrangula en la garganta hace que el drama que se viva en escena parezca menor, una chanza de mal gusto, un mal chiste de bragas, camisetas y calzoncillos sucios (en amplia exhibición, por cierto, durante gran parte de la obra)
The Deutsche Oper’s Meyerbeer cycle, which started two years ago with Vasco da Gama (L’Africaine) and continued last November with Les Huguenots, has been a source of great intellectual delight.
Aribert Reimann’s ability to wrest moods of profound unease from the instruments of the orchestra has always been matched by an unerring discernment in selecting sources that play to his stylistic strengths.