Even though Christian Thielemann conducted a lot of Italian operas during his “journeyman years” in Italy, this production at the Semperoper is his very first Aida. He tells this stirring drama by Giuseppe Verdi at the Semperoper Dresden with a great symphonic arc and a sense of detail. No blaring, no crashing: Everything is carefully balanced and lovingly modelled. With small breakes when it’s important, and otherwise a high basic pulse, Thielemann and the luxurious Staatskapelle Dresden counter the oratorical, statuesque nature of the piece with a lot of dramatic tension. Katharina Thalbach, known for her innovative and thought-provoking productions, created a classical set for the Semperoper and hence laid all the focus on the portrayal of the characters and their relationships and on the music. The “outstanding ensemble of singers” (Deutschlandfunk). “The crowning glory of this feast of voices is provided by Francesco Meli … currently the best Radamès” (Der Merkur), Krassimira Stoyanova as Aida, who beguiles with her power as well as with piani, and Oksana Volkova as Amneris, who comes up with darkly blazing passion” (Neue Musikzeitung).
La Traviata
Fondly known as “La Traviata of the Mirrors”, this iconic production returns to the familiar Macerata Opera Festival. The exeptional staging designed by Josef Svoboda allows the audience to experience a masterpiece through the gaze of giant mirrors. This production with new costumes stirs emotions and engulfs you in the tragedy that is Violetta Valéry’s predicament. Soprano Claudia Pavone brings the famous courtesan to life. The Sferisterio Opera Festival in Macerata, central Italy, has become a true gem whose performances are enthusiastically acclaimed by audiences of genuine opera lovers from far and wide. The open-air stadium (Sphaeristerium) was constructed 1820-29 and is one of the most renowned neo-classical buildings in Italy.
Aida
The 2021 edition of the Macerata Opera Festival was inaugurated with the same opera chosen in 1921 by Count Pier Alberto Conti. At that time, the Sferisterio, formerly a stadium for an ancient ball game, was turned into a venue for opera performances. 2021 was actually a double celebration: Aida, one of the most loved operas, premiered in Cairo in 1871, so this marks its 150th anniversary. Teatro. “A completely singular reading of Verdi’s score, supported by an undisputed musicality.” Connessi all’opera
Simon Boccanegra
Verdi’s Simon Boccanegra is regarded by connoisseurs as an insider tip of oppressive topicality: men make history and women are the victims. A gloomy atmosphere, political power struggles, family dramas – live from the Vienna State Opera in the production of grandmaster Peter Stein with an excellent cast, starring Thomas Hampson in the title role, Francesco Meli as Gabriele Adorno and Marina Rebeka as the all-outshining Amelia. In the orchestra pit: Evelino Pidò.
Falstaff
The love-crazed, fat, old Falstaff becomes the laughing stock of a women’s intrigue. In Giuseppe Verdi’s comic opera – opulently staged by director David McVicar – Carlos Álvarez shines in the role of a vocally grandiose and stunningly funny Sir John. Impressive also the rest of the ensemble – above all, Vienna’s favorite Simon Keenlyside as Ford.
Falstaff
Falstaff is Verdi’s masterpiece of comic opera, in which the behaviour of the ageing Sir John Falstaff, a devious freeloader and would-be ladykiller, causes uproar in the petty-bourgeois household of the Windsor’s. In Berlin, Mario Martone updates the action to the present day and shows Falstaff as ageing rebel in dodgy sideburns and leather jacket. Among the “exquisit vocal cast”, Michael Volle gives his debut in the title role “as if he had been preparing for this role for a lifetime” (Frankfurter Allgemeine Zeitung).
Simon Boccanegra
When Simon Boccanegra is elected Doge of the City of Genoa, it seems to offer the opportunity of reconciliation between the Patricians and the Plebeians. But he becomes entangled in family tragedies and power plays. Simon Boccanegra is Verdi’s most sombre work, yet enthralling with its strong drive to love and freedom. To unveil the moving score, the Orchestre Dijon Bourgogne is joined by Verdi specialist Roberto Rizzi Brignoli, who is known for an intimiate and precise knowledge of the Italian master’s style.
Macbeth
Giuseppe Verdi’s powerful opera “Macbeth” received a fulminant staging at the newly reopened Staatsoper Unter den Linden by legendary stage director Harry Kupfer. In this new production superstars Plácido Domingo and Anna Netrebko were singing the title roles. Maestro Daniel Barenboim led the Staatskapelle Berlin portraying the many-layered motives of the opera’s characters “at their very best” (NZZ). This “magical moment of opera” (NZZ) was an “exhilarating success” (SZ). While Domingo “still fascinates the audience after decades” (rbb24), Netrebko performed “perhaps the best role of her life” yet (rbb24). Kwangchul Youn and Fabio Sartori shone as Banquo and Macduff. With monumental choral scenes, the Staatsopernchor did not only sing, but also play ist acting role brilliantly. With ist black marble halls and ist larger-than-life-projections, the stage design by Hans Schavernoch was striking. “A lot of cheering for this evening of legends.” (BR Klassik)
Rigoletto
France’s most tradition-steeped theatre festival, the Chorégies d’Orange, presents Verdi’s Rigoletto on the open air stage of the city’s ancient Roman theatre – Europe’s best preserved amphitheatre – in a staging by Charles Roubaud. Sung by Leo Nucci, the title role of the tragic hero Rigoletto, hunchbacked court jester of the Duke of Mantua, appears “more touching than ever”. He and Nadine Sierra as his daughter Gilda form a “perfect symbiosis which inevitably leaves you speechless – an exceptional evening full of adrenaline” (ForumOpéra).
Falstaff
The stout Sir John Falstaff has financial problems. To refill his empty pockets he strives for amorous affairs with Alice and Meg, the wives of the rich citizens Ford and Page. The two ladies might even have consented, had they not received identical love letters. So they decide to play a trick on him. At the same time Alice exposes her husband’s chronic jealousy. In the end, Nannetta, the Fords’ daughter, is allowed to marry for love against her father’s plans.
Finally, a nightly masquerade in Windsor park brings out the moral of the story: „Tutto nel mondo è burla – All the world’s a burlesque“.
Towards the end of his operatic work, Giuseppe Verdi succeeds in a brilliant comedy of characters with philosophical wisdom and sparkling musical wit. The libretto of Arrigo Boito is based upon William Shakespeare’s comedy „The Merry Wives of Windsor“ and scenes from „Henry IV“.
Bernd Weikl’s witty production shows the simultaneity of tragedy and comedy. The opera’s motto „All the world’s a burlesque“ is also reflected in the stage design of Thomas Doerfler and in the costumes of Julia Holewik. Both set and clothes are inspired by Shakespeare’s theatre, the Italian tradition of „Commedia dell’ arte“ and the world of circus.”