In Palermo where Richard Wagner composed this monumental opera during a long stay, conductor Omer Meir Wellber makes a highly successful debut as music director of Palermo’s Teatro Massimo, architecturally and artistically one of Italy’s most impressive opera houses. “With the Teatro Massimo’s excellent orchestra he succeded in a reading that was absolutely straight forward” (Opera Today). The singers are excellently cast especially Julian Hubbard as Parsifal “who was a sensation” (neue musikzeitung). Stage director “Graham Vick strips Parsifal of mysticism to deliver a powerful indictment of divisive ideologies” (Musical America).
Rusalka
Rusalka returns to Madrid “on an overwhelming level that will leave its mark”. (El Español) Mesmerizing soprano Asmik Grigorian, “already one of the most outstanding sopranos of her generation“ (Online Merker) stars with a “voice, at its zenith of maturity“ (El Pais) in the title role of Christoph Loy’s timeless and evocative staging of Dvorák’s tragic take on the Little Mermaid fable. Especially „the direction of dancers and extras in the second act is a virtuoso performance by Loy and his choreographer.“ (El Pais) “Musically, this Rusalka is of immense quality, no doubt due to the spectacular work of Ivor Bolton.“ (El Español)
Tosca
Giacomo Puccini’s Tosca is one of the most dramatic thrillers in the history of opera. In the revived, legendary historic staging of Margarethe Wallmann, Piotr Beczala (“one of the extraordinary singers of our time”, Der Standard) celebrated his acclaimed role debut as Cavaradossi and is “overwhelming” (Wiener Zeitung). At his side is Karine Babajanyan as Primadonna Floria Tosca, making her house debut at the Vienna State Opera and Carlos Álvarez, whose “Scarpia is an ambassador of evil like no other.” (Wiener Zeitung) – a performance of unique and lasting quality!
Teatro alla Scala Opera Box
FIVE OUTSTANDING OPERAS FROM THE LEGENDARY TEATRO ALLA SCALA: AIDA: “A perfect coup de théâtre” (Giornale della musica). A “stellar cast” (La Stampa) I DUE FOSCARI: The Financial Times was deeply moved by Domingo’s performance, calling his interpretation of the role “sublime” DIE ZAUBERFLÖTE: Ádám Fischer “gets the best out of the Academy Orchestra with delicate execution and humane phrasing” (Die Presse) LE NOZZE DI FIGARO: “… when Diana Damrau enters as the Countess, we get a performance of special gravitas. Even the orchestra, under Franz Welser-Möst’s baton, melts to such grace.” (Financial Times) DIE ENTFÜHRUNG AUS DEM SERAIL: A „masterful use of light and silhouettes“ by Giorgio Strehler. (Milano Post) „Extraordinary, a wonder …“ (Corriere Della Sera)
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 this performance stage and film director 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” (Frankfurter Allgemeine Zeitung), Michael Volle gives his debut in the title role “with masterly dynamic shadings” (Financial Times) and “as if he had been preparing for this role for a lifetime.” (Frankfurter Allgemeine Zeitung) while “Daniel Barenboim and the Staatskapelle Berlin are tickling out all the wit and all the momentum from this score.” (Online Merker)
Andrea Chénier
Andrea Chénier, which premiered at La Scala in 1896, was last performed here 32 years ago by Riccardo Chailly. “By choosing to work with director Mario Martone, known for his films as well as his work in opera and theatre, Chailly has given overall coherence to his cinematic vision. This production is beautifully crafted and full of grim period detail. Riccardo Chailly conducted with vitality and drive“ (Financial Times) and in the main roles Yusif Eyvazov “proved to be technically very skilled“ and Anna Netrebko´s “beautifully timbred and perfectly tuned voice“ (theoperacritic.com) made “the acoustic experience of the Milanese Chénier high-class“. (BR Klassik)
Plácido Domingo Opera Gala – 50 Years at the Arena di Verona
What a pompous and exquisite gala to celebrate opera legend Plácido Domingo in the breathtaking Arena di Verona! 50 years ago the young Madrilenian singer Plácido Domingo gave his debut at the ancient open-air theatre: the beginning of a lasting and exceptional relationship. To mark the anniversary, Domingo presents a programme entirely dedicated to Verdi, performing three of his most complex and majestic baritone roles. No effort was spared to create an unforgettable evening in a unique atmosphere in the completely sold-out amphitheatre, which has been at the heart of Italian entertainment for almost 2,000 years. Whether as Babylonian king Nabucco, Scottish general Macbeth or as Doge Simon Boccanegra: Domingo’s versatility and aura is more than impressive, with “top phrasing and articulation, his baritone with full and sonorous intonation and a unique timbre – all this substantiates his exceptional position” (Das Opernglas). At the side of Domingo shines an excellent cast including Anna Pirozzi and Arturo Chacón-Cruz, supported by a perfectly rehearsed ballet under the baton of conductor Jordi Bernàcer who sovereignly leads the Orchestra of the Arena di Verona from scene to scene. A triumphal, almost historic moment for Domingo and the Arena di Verona!
Das Jagdgewehr (The Hunting Gun)
“Great moments: world premiere of Thomas Larcher’s opera ’Das Jagdgewehr’ at the Bregenz Festival.“ (Wiener Zeitung) Thomas Larcher has adapted Yasushi Inoue’s best-seller The Hunting Gun for his first opera, with a libretto by Austrian Book Prize winner Friederike Gösweiner. Austrian actor and film director Karl Markovics made his debut as stage director for an opera. The story tells of three women, who speak in three letters addressed to the same man, a hunter – his wife, his lover and his lover’s daughter. As the women react to the revelation of illicit love, the hunter’s life is laid bare. “The Austrian composer’s first opera is inventive” (The Times), “a clear, powerful text, some striking imagery and a luminous score of great beauty and originality ensure this opera’s success.“ (The Observer)
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)
Der fliegende Holländer (The Flying Dutchman)
At Maggio Musicale Fiorentino, maestro Fabio Luisi gives “a superb performance” (Operawire) of Der Fliegende Holländer (The Flying Dutchman), the forerunner of grand Wagnerian dramas. His Italian Richard Wagner debut is infused with energy and drive, under his direction the orchestra and chorus of Maggio Musicale Fiorentino, together with Coro Ars Lyrica, sparkle “in what was a five star performance” (Operawire). Thomas Gazheli stars as the Dutchman, who has been condemned to endlessly wander the seas until the day of Judgement. Marjorie Owens shines as his saviour Senta.