This new production of Wagner’s Der Ring des Nibelungen at the Bayreuth Festival was the opera event of the 2022 Festival summer. Young director Valentin Schwarz reimagines the mythical story in the present day and tells a gripping family saga in the world of the rich and powerful. The musical direction is in the hands of Cornelius Meister. In Das Rheingold, the antagonists Wotan and Alberich are hostile twin brothers and it is not the gold from the Rhine that is stolen at the outset, but a child, emphasizing the fact that dynasties are always overshadowed by the question of who will one day inherit power.
Der Freischütz
The Catalan theatre company La Fura dels Baus is acclaimed worldwide for its avant-garde opera productions. In their production of “Der Freischütz,” created to celebrate the 200th anniversary of the opera’s premiere at the Konzerthaus Berlin as well as the 200th anniversary of the concert hall itself, La Fura dels Baus created a virtual forest in which the cast of amazing soloists as well as the choir performed with the Konzerthausorchester under music director Christoph Eschenbach. Without any audience present, the Great Hall of the Konzerthaus was thus transformed into a myth-filled installation – a 360-degree experience for all the senses.
Lucia di Lammermoor
Donizetti’s Lucia di Lammermoor is by no means a private love tragedy, but rather an eminently political story that demonstrates how a system of power deforms and ultimately corrodes human relationships. Donizetti provided his most haunting music for the rebellion and extinction of betrayed love; the revenge is bloody, the madness deadly. In this new production of the Opernhaus Zürich, soprano Irina Lungu sings the title role of Lucia. Piotr Beczala appears as her lover and Massimo Cavalletti as her brother. Tatjana Gürbaca, renowned for her precise direction, staged the visually powerful production under the musical direction of Speranza Scappucci.
Simon Boccanegra
Intrigue, family tragedies, power struggles – these words aptly describe Giuseppe Verdi’s opera “Simon Boccanegra”. And the opera is somehow frighteningly topical: in this piece with only one female role, the men write history and the women are the victims. The world premiere flopped, but almost 25 years later the opera received thunderous applause at a new performance in Milan’s La Scala. Andreas Homoki has staged this second and revised version at the Zurich Opera House. Its premiere was one of the last conducted by outgoing music director Fabio Luisi and Christian Gerhaher’s much-lauded role debut as Simon Boccanegra.
Tosca
The appeal of Margarethe Wallmann’s »Tosca« production has stood the test of time since 1958. The staging has also garnered interest on account of its symbolic allure with the impressive number of renowned artistic personalities who have appeared before the Viennese audience in this very production with these very decorations and in these very costumes in memorable performances. The gallery of outstanding performers will now be continued with Viennese role debut of international audience favourite: Anna Netrebko as Tosca. “Anna Netrebko as Tosca in Vienna: fan-tastic!” (Kurier)
Nabucco
Under the direction of Andreas Homoki, this new production features a first-class cast: Catherine Naglestad and Michael Volle debut in the roles of Abigaille and Nabucco respectively, while the German bass Georg Zeppenfeld portrays Zaccaria. Music Director Fabio Luisi conducts the Philharmonia Zürich.
Orphée et Eurydice
The most enduringly popular opera by German composer Christoph Willibald Gluck, Orphée et Eurydice recounts the famous myth of Orpheus, the legendary Greek musician and poet who is grief-stricken over the untimely death of his wife, Eurydice. Staged by acclaimed director-choreographer John Neumeier and produced in collaboration with The Joffrey Ballet, Lyric Opera of Chicago’s new co-production with Los Angeles Opera and Staatsoper Hamburg seamlessly melds opera and dance. Lyric’s production stars Tenor Dmitry Korchak as Orphée with Sopranos Andriana Chuchman as Eurydice and Lauren Snouffer as Amour. The Chicago Tribune deemed the production “triumphant” and “miraculously fresh and alive.” The production features Gluck’s reworking of the original German opera into a French-language production featuring ballet.
Bayreuth Festival 2017: Die Meistersinger von Nürnberg
The high-point of the 2017 Bayreuth Festival, Barrie Kosky’s “astonishingly entertaining and convincing” (Der Spiegel) new Meistersinger is “a triumph” (Berliner Morgenpost): “a production of enormous insight and great quality … that plumbs the depths of both the opera and its composer” (Opera News). The “exquisite cast” (Die Zeit) is headed by Michael Volle’s “eloquent” Hans Sachs (The New York Times). “Philippe Jordan’s supple conducting is moulded around Kosky’s staging… and the Bayreuth Orchestra and Chorus are superb” (The Guardian).
Bayreuth Festival 2018: Lohengrin
From the 2018 Bayreuth Festival, the acclaimed new production by American director Yuval Sharon, “one of the most interesting arrivals on the musical landscape” (Opernwelt). The New York Times praised “the outstanding Piotr Beczala” as Lohengrin, “Anja Harteros [making] her impressive Bayreuth debut” as Elsa, and Ortrud “played with dominant presence by the incomparable Waltraud Meier”. The distinguished artists Neo Rauch and Rosa Loy created “breathtaking visuals”, and the whole performance was guided with “enthralling musicality” by conductor Christian Thielemann.
Cinderella
The entire classical world looks to this young lady – because what she creates is not only of the highest quality always, but also of supra-regional importance. And at just 13 years of age. We’re talking of Alma Deutscher, of course. The British composer, violinist and pianist can already look back on a proud list of works, but she finally composed her first opera “Cinderella”. Thunderous applause and standing ovations were the result of the sold-out performances at the Opera San José. Anyone expecting a work full of childhood fantasies from a child who writes opera will actually be a little disappointed – or rather rewarded with the surprising opposite. Alma Deutscher is often compared to the prodigy Mozart. A flattering comparison, of course. “She would rather be the first Alma than the second Mozart” (Scott Pelley for CBS News). Alma Deutscher’s opera is full of depth, variety and multifaceted richness, as only a young, highly talented girl’s equally experienced, yet equally unbiased view of the fairy tale and the world might allow.