Giuditta was to be Franz Lehár’s ticket to the world of opera: His “Spieloper” or “musical comedy” was triumphantly premiered in January 1934. Intoxicating melodies and borrowings from Puccini, whom Lehár admired, and his tragically loving characters stand alongside operetta-like innocuousness. However, the end of the plot is by no means cheerful; the lovers Giuditta and Octavio go their separate ways in resignation. The “musical comedy” thus only seems to stand in stark contrast to the social present of the emerging war, the 1930s. Director Christoph Marthaler, known for his whimsically beautiful theatre evenings, picks up on the ambivalence of Lehár’s characters, who vacillate between opulence and resignation, between euphoria and the abyss. Orchestral music by Béla Bartók, Erich Wolfgang Korngold or Dmitri Shostakovich, songs by Viktor Ullmann, Hanns Eisler or Alban Berg as well as excerpts from Sladek oder Die schwarze Armee by Ödön von Horváth radically place Lehár’s operetta in the context of its time of origin. Giuditta in Christoph Marthaler’s version tells a love story within the turmoil and confusion of the times, brilliantly realised by a top-class cast led by Vida Mikneviciute and Daniel Behle.
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.
RCO: Kerstmatinee 2016 – Bach: Christmas Oratorio (Cantatas IV-VI)
The Royal Concertgebouw Orchestra’s annual Kerstmatinee (Christmas Day Matinee) has become a beloved holiday tradition. For the second time, this matinee has been entirely dedicated to Bach’s inspirational Christmas Oratorio: The RCO presents the cantatas IV to VI, conducted by Trevor Pinnock, a renowned authority on eighteenth-century music. He leads the RCO in this masterpiece of Baroque music, accompanied by German coloratura soprano Marlis Petersen as well as Ursula Eittinger, Daniel Behle, Michael Nagy, and the “top ensemble” (Volkskrant) of the Nederlands Kamerkoor. The first three sections of the Christmas Oratorio, performed by the RCO under the baton of Jan Willem de Vriend, are also available: J.S. Bach: Christmas Oratorio (Cantatas I-III), Cat. No.: A 865 50025 0000.
Festive Gala from the Semperoper Dresden – 100th Anniversary of UFA
The Festive Gala at the Semperoper Dresden brings back the splendour of UFA Film for one scintillating night full of famous melodies. Christian Thielemann and his Staatskapelle Dresden together with outstanding singers Angela Denoke, Elisabeth Kulman und Daniel Behle pay homage to the hit songs of the so-called dream factory, which dominated the German film industry from 1917 to 1945, and produced classics like “Metropolis”, “The Three from the Filling Station” and “The Blue Angel”. Created in the first half of the 20th century, the UFA productions are marked by the ambivalence of culture and politics that is characteristic for this part of German history. For ZDF and the artists, the concert offers the chance for a deliberate, critical review of the “film dreams” of the past and the undeniable “dissonances” of the nation’s history.
High Performance Sports – Singing Opera
What do Jonas Kaufmann, Anja Harteros, Piotr Beczala and Daniel Behle have in common? Besides being internationally acclaimed singers, they’re all “vocal athletes” who keep their voices in shape. In this “rewarding documentary” (Opernglas), filmmakers Barbara and Wolfgang Wunderlich team up with Thomas Voigt to examine the physical and psychological hurdles that constantly face professional singers. Next to theoretical matters, the program offers a generous selection of musical excerpts that illustrate the topic at hand and shed light into the complex interplay of every singer’s body and mind.
Thielemann conducts Bach’s Christmas Oratorio
By performing Bach’s Christmas Oratorio, Christian Thielemann, the new chief conductor of the Staatskapelle Dresden, fulfilled a long-cherished wish: he always wanted to conduct this work and in Dresden he found the ideal conditions. At the same time he brought it back on the schedule of the Staatskappelle after a pause of over 20 years. The Christmas Oratorio BWV 248 by Johann Sebastian Bach was written for the Christmas season of 1734 in Leipzig. Christian Thielemann leads the Staatskapelle Dresden along with a roster of top soloists: Sibylla Rubens (Soprano), Christa Mayer (Alto), Daniel Behle Tenor) and Florian Boesch (Bass).
Wiener Philharmoniker: Ivan Fischer conducts Mahler & Haydn
Leading the Wiener Philharmoniker in a traditional subscription concert for the very first time, conductor Ivan Fischer presents Haydn’s rarely heard Sturm und Drang symphony “with great sensitivity, encouraging the Philharmonic to play with transparency and delicacy” (Die Presse), before delving into Mahler’s Lied von der Erde with renowned soloists Tanja Ariane Baumgartner and Daniel Behle. PROGRAM Haydn: Symphony No. 52: Mahler: Das Lied von der Erde
Salzburg Festival 2025: Zaide or The Path of Light
Raphaël Pichon, Pygmalion and an “outstanding” (Kurier) cast of singers pull off “a Mozart miracle” (Kronenzeitung) with their new project at the Salzburg Festival. The unfinished singspiel Zaide, excerpts from Davide penitente and Thamos, and concert arias merge into a semi-staged evening that highlights the themes of humanity and freedom in Mozart’s work: “What Raphaël Pichon conjured up from his two excellent ensembles is almost impossible to describe; you simply have to experience it for yourself” (Die Presse). “One of the most powerful experiences of the past decades” (Kurier) “A magnificent quintet of soloists led by the divine Sabine Devieilhe” (Süddeutsche Zeitung)
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).