Music of introverted tenderness and a libretto that hints at much and offers few answers – such is Pelléas et Mélisande, Claude Debussy’s only completed opera. Dubbed “Drama lyrique” by the composer himself, and written in 1902 at a time when the subconscious, the psyche, dreams and urges commanded the attention of science and art, this music searches the souls of its characters with ist subtle nuances. Pelléas and Golaud are half-brothers, each loving the girl-from-nowhere Mélisande. The elder, dominant Golaud makes her his wife; the younger Pelléas is the soul-mate of the taciturn, strangely vulnerable Mélisande and an equally mysterious bond of concealed love is formed between them. The consummately precise staging by Nikolaus Lehnhoff has a cast to match these wondrous sounds. This exceptional production “achieves […] what actually can only be understood as magic.” (Die Welt)
La Wally
Catalani’s masterpiece, first performed in 1892 at La Scala in Milan, is best known for its aria “Ebben? Ne andrò lontana”. With nuanced harmonies and colourful instrumentation, he pays great attention to the orchestra sound. He chose highly unusual material for his opera: the successful novel Die Geier-Wally by Wilhelmine von Hillern tells the story of a young woman who does not fit any of the gender clichés of the time. Unlike many earlier operatic heroines commanded to marry against their will, Wally does not look for a solution in society, but instead runs away to the mountains. Her husband must be her equal, someone unafraid to face both a bear and her father. “Izabela Matula – A Wagnerian hell of a woman with a great soprano.” (Kronenzeitung) / “Catalani’s highly dramatic music finds an intense advocate in Andrés Orozco-Estrada on the podium of the excellently disposed Wiener Symphoniker.” (Wiener Zeitung)
La Wally
Catalani’s masterpiece, first performed in 1892 at La Scala in Milan, is best known for its aria “Ebben? Ne andrò lontana”. With nuanced harmonies and colourful instrumentation, he pays great attention to the orchestra sound. He chose highly unusual material for his opera: the successful novel Die Geier-Wally by Wilhelmine von Hillern tells the story of a young woman who does not fit any of the gender clichés of the time. Unlike many earlier operatic heroines commanded to marry against their will, Wally does not look for a solution in society, but instead runs away to the mountains. Her husband must be her equal, someone unafraid to face both a bear and her father…