It is the concertante performance of Elektra in which the Staatskapelle Dresden under the baton of its principal conductor Christian Thielemann does justice once again to its reputation as Richard Strauss’s favourite orchestra and leaves us in no doubt: this is where the Strauss sound is at home! Evelyn Herlitzius leads a brilliant cast including Waltraud Meier, René Pape and Anne Schwanewilms.
Aida
Even though Christian Thielemann conducted a lot of Italian operas during his “journeyman years” in Italy, this production at the Semperoper is his very first Aida. He tells this stirring drama by Giuseppe Verdi at the Semperoper Dresden with a great symphonic arc and a sense of detail. No blaring, no crashing: Everything is carefully balanced and lovingly modelled. With small breakes when it’s important, and otherwise a high basic pulse, Thielemann and the luxurious Staatskapelle Dresden counter the oratorical, statuesque nature of the piece with a lot of dramatic tension. Katharina Thalbach, known for her innovative and thought-provoking productions, created a classical set for the Semperoper and hence laid all the focus on the portrayal of the characters and their relationships and on the music. The “outstanding ensemble of singers” (Deutschlandfunk). “The crowning glory of this feast of voices is provided by Francesco Meli … currently the best Radamès” (Der Merkur), Krassimira Stoyanova as Aida, who beguiles with her power as well as with piani, and Oksana Volkova as Amneris, who comes up with darkly blazing passion” (Neue Musikzeitung).
Thielemann conducts Strauss
Following the complete recordings of the symphonies of Brahms and Schumann, the Staatskapelle Dresden and Christian Thielemann are turning their attention to the work of Richard Strauss. While the Sächsische Zeitung wrote about Morley that she “indulged the songs with great delight and the finest feeling”, Der Standard wrote about Thielemann: “Great clarity, great class. The inner charge of the instrumental, this intensity palpable in every note, with which the Staatskapelle Dresden immediately stormed into Strauss’s Heldenleben, revealed Thielemann’s well-known strengths: he succeeds in uniting impulsivity and balance in the sound as well as expressive melodic surging and structural clarity.” PROGRAM: Strauss “An die Nacht“, “Ich wollt ein Sträußlein binden“, “Säusle, liebe Myrthe!“, “Als mir dein Lied erklang“, “Amor“ from Op. 68 “Muttertändelei“, “Ein Heldenleben“; Hennig: “Nacht“
Capriccio
Capriccio by Richard Strauss is an opera about opera as an art form: it describes the creation of a musical drama with wise cheerfulness and full knowledge of this genre of theatre. The “conversation piece with music” is Strauss’s last complete stage work, his farewell as an opera composer, the cultivated conclusion of a well-considered life’s work. The composer worked closely with the Semperoper Dresden for six decades, and nine of his operas were premiered on the Elbe. To this day, the house and its orchestra, the Staatskapelle Dresden, celebrated worldwide as the “Strauss Orchestra”, cultivate his work with a unique intensity and quality. The celebrated Strauss interpreter and principal conductor of the Staatskapelle Dresden, Christian Thielemann, leads a top-class ensemble with star soprano Camilla Nylund as the Countess, Georg Zeppenfeld as La Roche, Daniel Behle as Flamand, Nikolay Borchev as Olivier, Christa Mayer as Clairon and Christoph Pohl as the Count. In Jens-Daniel Herzog’s new production, the plot unfolds in full poetic power and impressive imagery.
Thielemann conducts Bruckner No. 1
Christian Thielemann and his Staatskapelle Dresden embark on their Bruckner Cycle at the Philharmonie in Munich with a radiant performance of Symphony No. 1. Thielemann, a more than experienced Bruckner interpreter, demonstrates his skill once more and shows a masterly control over his orchestra. “How Thielemann elicits diabolical trills and how he puts emphasis on syncopation, no matter how small – that’s in a class of ist own.” (Die Presse.com)
Thielemann conducts Bruckner No. 3
Christian Thielemann and his Staatskapelle Dresden continue their Bruckner Cycle at the Philharmonie in Munich with a “radiant and majestic” (The Guardian) performance of Symphony No. 3, also known as “Wagner Symphony”. Thielemann, a more than experienced Bruckner interpreter, has once again proven himself as the top of his class with masterly control over a shining wind section, which “pushed the audience deeply into their seats”. With “moments of disruptive suspense and intense audio density he displays the full musical maelstrom of Bruckners Symphony No. 3” (Münchner Merkur).
Ariadne auf Naxos
The proven Richard Strauss trio of Renée Fleming, Sophie Koch and Christian Thielemann gets together once again at the Festspielhaus in Baden-Baden, which continues its series of triumphs after “Rosenkavalier”. In this colorful and humorous staging by Philippe Arlaud, Strauss specialist Thielemann leads his first opera at the head of the Sächsische Staatskapelle Dresden, which performed the world premieres of nine Strauss operas. While Renée Fleming dazzles in her role debut as the spurned Ariadne, Sophie Koch, Robert Dean Smith and Jane Archibald prove themselves worthy counterparts of the American soprano.
The Nutcracker
Peter Tchaikovsky’s “Nutcracker” is certainly one of the most popular “family” ballets in the world. This production from the Semperoper combines the work’s fairy-tale aspects with visual opulence. Based on the original libretto by Marius Petipa, the choreography by Aaron S. Watkin and Jason Beechey is modern yet traditional. The spirited dancing, charming sets inspired by Dresden landmarks, and extravagant costumes make the production a joy to behold. The production entrusts the roles of the children in the first act to actual children and youths from Dresden’s famous Palucca School of Dance.
Beethoven, Missa solemnis in D major, Op.123
The concert commemorating the bombardment of Dresden in World War II features Beethoven’s mighty choral work under the direction of Christian Thielemann. Playing with vibrancy and passion, the Staatskapelle Dresden made a profound impression on the entire audience. Particularly remarkable is the fabulously homogeneous solo quartet formed of Krassimira Stoyanova, Elina Garanca, Michael Schade and Franz-Josef Selig. Another major vocal feat was accomplished by the Saxon State Opera Choir, which mastered the extremely difficult choral part with effortless proficiency.
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)