On the occasion of its 50th anniversary, the Salzburg Easter Festival presents a “Re-creation” of Die Walküre: of Herbert von Karajan’s musico-theatrical vision of the 19th century masterwork, with which the legendary Maestro opened the very first Easter Festival in 1967. The top-ranking ensemble of singers performs in the faithfully reconstructed scenery of the original production with impressive video backdrops inspired by the original glass paintings. Christian Thielemann, who has been assistant of Karajan in his beginnings, counts among the world’s foremost Wagner conductors, “… there is an absolute polish to this performance that is exceptional” writes the Financial Times about the conductor and orchestra. The critics are full of praise for this “musically ravishing Walküre” (Frankfurter Allgemeine Zeitung) and its “excellent ensemble of soloists”. As Sieglinde, Anja Harteros is “enchanting and elegant”, Peter Seiffert “amazingly presents a steady and expressive Siegmund”, Christa Mayer “shows off as irresistible, throroughbred Fricka” and Anja Kampe is celebrated as “outstanding Brünnhilde” (Süddeutsche Zeitung). “Musically it was superb.” (The Spectator)
Der Freischütz
Axel Köhler’s production of Der Freischütz at the Dresden State Opera was described by Die Presse as “a minor miracle in Dresden”. In the words of the Salzburger Nachrichten, Köhler “scored a bulleye” with his sombre and satanic interpretation of Weber’s Romantic opera about love, temptation, souls sold to the Devil, obsession and faith. According to the Financial Times, Christian Thielemann and the Dresden Staatskapelle conjured up a sense of “mortal terror from the orchestra pit. […] Thielemann is in command of every detail. That makes for utterly gripping listening.”
Un Ballo in Maschera
Praise for the Bayerische Staatsoper’s new Ballo in maschera: “A formidable vocal feast” (Bayerische Staatszeitung). Ten years after stepping down as music director of the Bavarian State Opera, a “grand Zubin Mehta“ (Bayerischer Rundfunk) returned to Munich in March 2016 to celebrate his 80th birthday conducting Verdi’s masterpiece for the first time in a staged production. His cast features some of today’s finest Verdi singers: soprano Anja Harteros, singing Amelia for the first time and “filling every note with Verdian intensity”, tenor Piotr Beczala as a “visually and vocally dashing Riccardo” and George Petean as an “exemplary” Renato (Neue Musikzeitung). In director Johannes Erath’s musically super-sensitive new production, this historically-based tale of illicit love, conspiracy and betrayal unfolds in a surrealistic, shadowy setting transformed by lighting and projections. Special praise was showered by the enthusiastic critics on Maestro Mehta, who “creates concentrated musical connections, miraculously guiding his orchestra and unsurpassable voices the way a thermal lifts a paraglider … Musically the performance was a dream” (Frankfurter Allgemeine Zeitung). “A total triumph” (La Razón). “This production shows what a utopia opera can be” (Abendzeitung).
I due Foscari
In his ‘new life’ as a baritone, Plácido Domingo has triumphed in the role of Francesco Foscari in Los Angeles, London and Vienna. Now he takes to the role to La Scala, Milan, the theatre that is the symbol of Italian opera. I due Foscari, premiered in 1844, famously one of Verdi’s darkest operas, is staged by Alvis Hermanis, who made such an impact at the Salzburg Festival with “Die Soldaten” and “Il trovatore”. Domingo is joined by two of Italy’s most exciting singers, the soprano Anna Pirozzi and the tenor Francesco Meli, and the acclaimed Italian conductor Michele Mariotti. The Financial Times was deeply moved by Domingo’s performance, calling his interpretation of the role “sublime”.
Il Trovatore
It’s an event that draws many thousands of music lovers to one of the most beautiful cities in the world every summer: the opera season at the ancient Arena di Verona. The 2,000-year-old roman amphiteatre with its gigantic stage dimensions is one of the largest and best preserved Roman construction of its kind, and with over 22,000 seats it is undoubtedly one of the most spectacular open-air venues of the world! The revered master of opera Franco Zeffirelli, who died shortly before the premiere of Il Trovatore, created a legendary scenery with groups of giant sized armoured knights, a fortress turning into a luminous cathedral, an enormous choir, horses, breathtaking fights: “his perhaps best arena production” (Opernglas). It brings Anna Netrebko to the Arena of Verona where she is giving her much-anticipated debut in one of Giuseppe Verdi’s most popular operas. Next to Anna Netrebko as Leonora perform Verdi accomplished baritone Luca Salsi as Count di Luna and Yusif Eyvazov returns to the Arena as his powerful-voiced opponent Manrico. MET star Dolora Zajick as Azucena and young rising Italian bass Riccardo Fassi as Ferrando join the prestigious ensemble. „Zeffirelli gives to the arena what it merits: a colourful, multifaceted staging in which impressive mass scenes alternate with intimate moments […]“ (Der Neue Merker) “Unforgettable” (Verona Settegiorni)
Die Walküre
On the occasion of its 50th anniversary, the Salzburg Easter Festival presents a “Re-creation” of Die Walküre: of Herbert von Karajan’s musico-theatrical vision of the 19th century masterwork, with which the legendary Maestro opened the very first Easter Festival in 1967. The top-ranking ensemble of singers performs in the faithfully reconstructed scenery of the
original production with impressive video backdrops inspired by the original glass paintings. Christian Thielemann, who has been assistant of Karajan in his beginnings, counts among the world’s foremost Wagner conductors, “… there is an absolute polish to this performance that is exceptional” writes the Financial Times about the conductor and orchestra. The critics are full of praise for this “musically ravishing Walküre” (Frankfurter Allgemeine Zeitung) and its “excellent ensemble of soloists”. As Sieglinde, Anja Harteros is “enchanting and elegant”, Peter Seiffert “amazingly presents a steady and expressive Siegmund”, Christa Mayer “shows off as irresistible, throroughbred Fricka” and Anja Kampe is celebrated as “outstanding Brünnhilde” (Süddeutsche Zeitung). “Musically it was superb.” (The Spectator)
I due Foscari
In his ‘new life’ as a baritone, Plácido Domingo has triumphed in the role of Francesco Foscari in Los Angeles, London and Vienna. Now he takes to the role to La Scala, Milan, the theatre that is the symbol of Italian opera. I due Foscari, premiered in 1844, famously one of Verdi’s darkest operas, is staged by Alvis Hermanis, who made such an impact at the Salzburg Festival with “Die Soldaten” and “Il trovatore”. Domingo is joined by two of Italy’s most exciting singers, the soprano Anna Pirozzi and the tenor Francesco Meli, and the acclaimed Italian conductor Michele Mariotti. The Financial Times was deeply moved by Domingo’s performance, calling his interpretation of the role “sublime”.
BONUS Ioan Holender interviews Plácido Domingo on the occasion of I Due Foscari at La Scala in Milan
Un Ballo in Maschera
Praise for the Bayerische Staatsoper’s new Ballo in maschera: “A formidable vocal feast” (Bayerische Staatszeitung). Ten years after stepping down as music director of the Bavarian State Opera, a “grand Zubin Mehta“ (Bayerischer Rundfunk) returned to Munich in March 2016 to celebrate his 80th birthday conducting Verdi’s masterpiece for the first time in a staged production. His cast features some of today’s finest Verdi singers: soprano Anja Harteros, singing Amelia for the first time and “filling every note with Verdian intensity”, tenor Piotr Beczala as a “visually and vocally dashing Riccardo” and George Petean as an “exemplary” Renato (Neue Musikzeitung). In director Johannes Erath’s musically super-sensitive new production, this historically-based tale of illicit love, conspiracy and betrayal unfolds in a surrealistic, shadowy setting transformed by lighting and projections. Special praise was showered by the enthusiastic critics on Maestro Mehta, who “creates concentrated musical connections, miraculously guiding his orchestra and unsurpassable voices the way a thermal lifts a paraglider … Musically the performance was a dream” (Frankfurter Allgemeine Zeitung). “A total triumph” (La Razón). “This production shows what a utopia opera can be” (Abendzeitung).
Der Freischütz
Axel Köhler’s production of Der Freischütz at the Dresden State Opera was described by Die Presse as “a minor miracle in Dresden”. In the words of the Salzburger Nachrichten, Köhler “scored a bulleye” with his sombre and satanic interpretation of Weber’s Romantic opera about love, temptation, souls sold to the Devil, obsession andfaith. According to the Financial Times, Christian Thielemann and the Dresden Staatskapelle conjured up a sense of “mortal terror from the orchestra pit. […] Thielemann is in command of every detail. That makes for utterly gripping listening.”