With a sublime cast and the revolutionary staging by Ulrich Rasche, this Salzburg Festival production of Donizetti’s Maria Stuarda transforms a bel canto masterpiece into an evening of theatre. The conflict between Maria and Elisabetta becomes tangible through contrasting costumes, a constantly shifting space of rotating platforms and projected images. Lisette Oropesa’s Maria showcases “a truly wonderful display of vocal intelligence, human warmth and a completely effortless, natural tone” (Süddeutsche Zeitung), while Kate Lindsey’s Elisabetta conveys the fury and despair of the English monarch with striking intensity. Under the baton of Antonello Manacorda and with the outstanding contribution of the Salzburg Experimental Academy of Dance, this production conquers through rhythm, movement and physical presence as expressive forces.
“Lisette Oropesa imbues all of this with vocal mastery and emotion. Beyond pure virtuosity she shapes the inner workings of the character into operatic drama” (Der Standard)
The Belgian dancer, choreographer and multi-talent Sidi Larbi Cherkaoui who has worked with top artists across disciplines like superstar Beyoncé, interprets Gluck’s late Baroque opera as an impressive symbiosis between dance and music. The singers cast, including Dorothea Röschmann, is compelling right up to the small roles. Conductor Antonello Manacorda and the Bayerisches Staatsorchester play phenomenally, the chorus of the Bayerische Staatsoper “sings magnificent” (Frankfurter Allgemeine Zeitung).
The Belgian dancer and choreographer Sidi Larbi Cherkaoui interprets Gluck’s late Baroque opera Alceste as an impressive symbiosis between dance and music. The opera “can be experienced here in all its existential power.“ (SZ) It is here performed in the revised Paris version from 1776 where Gluck has revalued especially the ballet music. Cherkaoui – director of the Royal Ballet of Flanders – has worked with top artists across disciplines like superstar Beyoncé. The superb dancers of the Belgian Compagnie Eastman, Antwerp perform Gluck’s score physically, creating a fine and stringent aesthetics of “beautiful images” (Opernwelt). Dorothea Röschmann with her “inimitable charisma” (Financial Times) and Charles Castronovo deliver a brilliant performance in the roles of the self-sacrificing royal couple. “Musically impressive.“ (NMZ)
The Mozart Matinees, concerts given at the Great Hall of the Mozarteum Foundation at the weekends during the Salzburg Festival, were established in 1921 and have in the meantime assumed legendary status. In this Mozart Matinee, Italian conductor Antonello Manacorda at the podium of the Mozarteumorchester and South African soprano Golda Schultz present a fine selection of arias that Mozart composed to texts by Lorenzo Da Ponte. The arias are framed by Mozart’s First Symphony and the “Jupiter” Symphony, his very last.
At the Salzburg Festival, director Ulrich Rasche shapes Donizetti’s Maria Stuarda into “a Sisyphean image and a powerful metaphor for the mechanics of power in which everyone here is trapped” (NZZ), by moving the action onto enormous discs, “with people who must relentlessly march towards their fate on them” (Kurier). This striking interpretation is perfectly completed by the outstanding performances of the two women at the centre of the story. “Kate Lindsey (Elisabetta) was able to clothe the character’s brokenness, her remorse and indignation, in a flowing song, with an almost theatrical clarity of articulation, on the one hand, and a passionate, full-bodied sound on the other” (WDR). Lisette Oropesa, as her opponent Maria Stuarda, “stands opposite her in gleaming white, but her voice sounds wonderfully warm and full-bodied. She has a
sure command of the high notes and coloratura. But even more impressive than her acrobatics is her expressiveness: when she loves and suffers, she is completely herself, and we are completely with her” (BR).
This episode marks the start of a captivating series: compositions at their world premiere venues. Mendelssohn composed his famous Sommernachtstraum (Midsummer Night’s Dream) as a teenager, but was not able to incorporate it into the accompaniment to Shakespeare’s fantastic comedy until 16 years later. The incidental music was commissioned by King Friedrich Wilhelm IV of Prussia and is performed in this special performance at the Theater des Neuen Palais in Potsdam, exactly where the premiere took place in October 1843. Alongside the Kammerakademie Potsdam and its chief conductor Antonello Manacorda, soloists Jeanine De Bique and Christiane Karg, who also appear in Berlioz’s exquisite Les nuits d’été, a work created just two years before Mendelssohn’s Midsummer Night’s Dream.
