A conversation about the origins and history of the ballet “The Taming of the Shrew”
with Tamas Detrich, Wolfgang Heinz and Reid Anderson
Beethoven Project – Ballet by John Neumeier
Mainly based on the “Eroica Variations” and Symphony No. 3, John Neumeier describes his idea of the Beethoven Project as follows: ” A choreographic poem inspired by Beethoven’s music, and perhaps by Beethoven himself.” Aleix Martínez – “a force of nature” (tanz) – dances the leading role as Beethoven at the Festspielhaus Baden-Baden. The dancers are phenomenal, a fantastic ensemble performance that can only succeed if a company dances at such a high level as the Hamburg Ballett.
Jenufa
Leoš Janácek’s third opera, with its echoes of folk music from the composer’s native Moravia, was his first real success and got the name “Moravian national opera”. Besides
this, Janácek’s music has a special quality: while it explores psychological extremes leading to violence and infanticide and lays bare characters’ emotions in an unsparing manner,
no one is judged. Jenufa has a special relationship with the Staatsoper Unter den Linden: when it premiered in Berlin in 1924, its success on the German stage was assured until nowadays. “Rattle reveals a dynamic understanding of Janácek’s musical language in a reading that’s urgent, unsentimental and richly flavoured” (bachtrack.com). The FAZ described the production as “a beguiling mixture of speaking articulation and tonal roundness.”
Elbphilharmonie: Gilbert conducts Mahler No. 3
Alan Gilbert marked his debut as Musical Director of the New York Philharmonic in 2009 with a performance of Gustav Mahler’s colossal Third Symphony. He has now also selected the work for his return to the NDR Elbphilharmonie Orchestra. The former first guest conductor of the orchestra is a renowned interpreter of Mahler. Since first encountering Mahler’s work at the age of nine, the composer’s grip on Gilbert has never loosened. With compelling performances around the world, Gilbert repeatedly demonstrates his unique understanding of Mahler’s powerful scores. Alan Gilbert’s debut “was a fulminant success” (Welt).
Betrothal in a Monastery
At the Staatsoper Unter den Linden Dmitri Tcherniakov stages Prokofiev’s lyrical comic opera Betrothal in a Monastery under Daniel Barenboim’s baton. The Russian director recasts the complete opera as therapeutic role play for “Opera-Addict Anonymus”. Daniel Barenboim conducts the Staatskapelle Berlin and “the uniformly excellent cast” (Financial Times), led by Aida Garifullina, Bogdan Volkov and Stephan Rügamer among others. “Musically, this performance is a celebration in every respect”, praises BR Klassik.
John Cranko’s The Taming of the Shrew
John Cranko’s The Taming of the Shrew is one of the greatest ballet comedies of the 20th century. Inspired by William Shakespeare’s world-famous play, Cranko brings to vivid life the story of the shrewish Katherina whom no one wants to marry and the dashing and clever Petruchio who makes her his wife and “tames” her. Set to cheerful and boisterous music by Kurt-Heinz Stolze after Domenico Scarlatti and with colourful costumes and a charming set by Elisabeth Dalton, The Taming of the Shrew evokes the sunlit streets and gardens of Italy. The perfect ballet for the whole family, danced by the Stuttgart Ballet. “This company is world class.” (Tanznetz) / “Cranko’s adaption of Shakespeare’s comedy is an artistic gem.” (FAZ)
Pique Dame
Stuttgart’s world renowned directing-duo, Jossi Wieler, Intendant of the Oper Stuttgart and the opera’s chief dramaturg Sergio Morabito, stage a new production of Tchaikovsky’s operatic masterwork Pique Dame. The production featuring Erin Caves as Hermann, Vladislav Sulimsky as Tomsky, Helene Schneiderman as the Countess and Rebecca von Lipinski as Lisa is conducted by Stuttgart’s musical director Sylvain Cambreling.
Festive Re-Opening Staatsoper Unter den Linden – Scenes from Goethe’s Faust
The Staatsoper Berlin is back in ist place of origin: Unter den Linden! After major renovations, it reopens with Schumann’s Scenes from Goethe’s Faust, conducted by Daniel Barenboim. Under the direction of Jürgen Flimm and in the sets of acclaimed German artist Markus Lüpertz, Schumann’s orchestral work is transformed in a captivating drama. In the glow of the renovated opera hall Daniel Barenboim and the Staatskapelle Berlin perform alongside soloists such as Roman Trekel, Elsa Dreisig and René Pape. Besides the vocal parts, the main characters Faust, Gretchen and Mephistopheles are embodied by the renowned actors André Jung, Meike Droste and Sven-Eric Bechtolf.
Barenboim conducts Beethoven’s Symphony No. 9
A veritable “Ode to Joy”: the Staatsoper Unter den Linden celebrates its reopening with a rousing open-air performance of Ludwig van Beethoven’s Symphony No. 9 by General Musical Director Daniel Barenboim, the Staatskapelle Berlin and the Staatsopernchor, featuring Diana Damrau, Okka von der Damerau, Burkhard Fritz and René Pape as stellar soloists. Set in the heart of the German capital, the Bebelplatz is home to Barenboim’s “Staatsoper für alle”, a yearly open-air tradition that has become a firm favourite with audiences: the maestro “turns cultural performances of the highest level into blockbusters”, “meeting visitors in the streets” and thus making the Staatsoper Unter den Linden the city’s “true Volksbühne” (Berliner Zeitung).
Hosokawa: Stilles Meer
Under the baton of Kent Nagano, the Philharmoniker Hamburg performed the eagerly awaited world premiere of the opera Stilles Meer by Japanese composer Toshio Hosokawa, starring superb singers as the world famous countertenor Bejun Mehta. Stilles Meer transfers a prominent theme of the Japanese dance theatre, Sumidagawa, into the setting of Fukushima, picturing the grief of a German woman who lost her boy and her husband during the Tsunami that attacked Fukushima in March 2011 and her unrelievable sorrow not being able to accept that reality. “The orchestra plays [for Kent Nagano] with delicate precision. Susanne Elmark sings with clarity and warmth. Bejun Mehta infuses his lines with affectingly bittersweet melancholy. ” (Financial Times).