In bringing the work back to the Wiener Staatsoper for its first new production since World War II – inventively directed by Adrian Noble, former Artistic Director of Britain’s Royal Shakespeare Company – it’s no surprise that, as one of today’s most admired interpreters of both Wagner and Strauss, German conductor Christian Thielemann should particularly relish the musical echoes of those composers’ works in Humperdinck’s score. In Opera magazine’s words, “He polished all these moments with refinement and subtlety, inspiring the Staatsopernorchester to play with energy, engagement and transparence.” Other reviews were equally ecstatic, praising both the orchestra’s “fabulously resplendent and silky playing” (Frankfurter Allgemeine Zeitung) and Thielemann’s “concern for an elegantly flowing musical line … and for a lightness and transparency that allow this noble music to sparkle in manifold ways” – in short, the whole performance was “musically exceptional … a miniature miracle in sound” (Wiener Zeitung).
Rusalka
This highly acclaimed production from the Bayerische Staatsoper, a powerful and fascinating re-interpretation of Dvorák’s fairy-tale opera Rusalka, was a revelation: the young, up-and-coming Latvian soprano, Kristine Opolais, whose performance was rightly hailed by the press as “one of the most vivid and striking accomplishments seen on an opera stage in a long time” (Vienna’s leading daily Der Standard). With her supple and velvety soprano voice, her captivating physical beauty and her hauntingly moving stage presence, Kristine Opolais perfectly embodies the role of the water nymph who becomes a human being in order to find love.