The “German Requiem” made Johannes Brahms one of the most famous composers of his time. He himself later said of his work, “I have now found consolation.” Under the direction of Gianandrea Noseda, who presented himself with this extraordinary concert as the new General Music Director of the Zurich Opera House, the choir and orchestra performed in an empty hall – the orchestra on the stage, the choir facing it in the parquet and the tiers of the auditorium. Distanced, yet united in consolation. “Blessed are those who mourn, for they shall be comforted.”
Sleeping Beauty – A ballet by Christian Spuck
In 1890, Sleeping Beauty, choreographed by Marius Petipa, was premiered in St. Petersburg with Pyotr Tchaikovsky’s immortal music. In his version for Ballett Zürich, Christian Spuck revives the ballet classic in his own personal artistic style. He takes the old Sleeping Beauty story and scrutinizes every aspect of it. With a great deal of humor, Christian Spuck addresses the complex process of growing up, relating themes such as generational conflicts with one’s parents, the difficulties of becoming a mature adult, and, last but not least, love and sexuality. Whenever possible, he frees the characters from their traditional role clichés. Petipa’s version becomes a model that Christian Spuck occasionally cites yet repeatedly questions and counteracts with irony and occasionally irritating moments.
Fabio Luisi’s Farewell Concert from Zurich: Bruckner No. 7
In his nine years as the General Music Director of the Opernhaus Zürich, Fabio Luisi decisively shaped the musical tone of the house. His Verdi interpretations, his cycle of operas by Vincenzo Bellini and his forays into the symphonic-romantic repertoire are unforgettable. In June 2021, Luisi gave his farewell concert on the rostrum of the Philharmonia Zürich with an intense and memorable performance of Anton Bruckner’s Symphony No. 7. Conducting without a baton, Fabio Luisi led the orchestra in his signature style combining precision with emotion, moulding out every heraldic and delicate passage from an orchestra in top form.
Der Rosenkavalier
When Strauss and Hofmannsthal wrote «Der Rosenkavalier» – setting it in an imaginary Rococo Vienna and yet closely linked to the decadent fin de siècle – they created a profound social comedy. It is not without melancholy that the Marschallin lets her young lover Octavian go when he falls head over heels with Sophie, who hails from Faninal’s bourgeois household. As voluptuous as Strauss’ score is, it contains tender moments of dream and melancholy. Director Lydia Steier stages Strauss’ opera according to an aesthetic concept by Austrian artist Gottfried Helnwein. Diana Damrau sings the Marschallin. Joana Mallwitz conducts the Orchester der Oper Zürich.
Elina Garanca Recital
The new season of the Opernhaus Zürich opened with an extraordinary recital. The celebrated mezzo-soprano Elina Garanca and the new artistic director Matthias Schulz transported the audience into a world of songs and arias with works by Saint-Saëns, Berlioz, Brahms, Schumann, and other romantic and late romantic composers. The centerpiece of the evening was the aria “Mon cœur s’ouvre à ta voix” from Saint-Saëns’ opera “Samson et Dalila,” which Garanca, as “Dalila,” knows to masterfully and emotionally interpret on the world’s greatest operatic stages and with full orchestras. Matthias Schulz’s sensitive piano accompaniment left nothing to be desired in terms of this emotionality and artistry. The two musicians have a longstanding musical collaboration, and their recitals delight European audiences.
Das Rheingold
The Zurich Opera’s production of Das Rheingold, directed by Andreas Homoki and conducted by Gianandrea Noseda, presents the cosmic struggles between gods, giants, and Nibelungs over a cursed ring. Homoki emphasizes character and narrative, portraying these figures as reflections of human nature grappling with themes of love, power, and sacrifice. Noseda’s conducting, paired with Philharmonia Zürich, revitalizes Wagner’s score, while Christian Schmidt’s set design enhances the story’s timelessness. The cast, featuring Tomasz Konieczny as Wotan and Christopher Purves as Alberich, delivers powerful performances that bring the mythic characters to life.
Die Walküre
In Wagner’s Die Walküre, separated twins Siegmund and Sieglinde embark on a forbidden love that disrupts Wotan’s intentions to manipulate fate. Fricka demands Siegmund’s death due to marriage laws, prompting Wotan to command his daughter, Brünnhilde, to allow this. Defying Wotan, Brünnhilde aims to protect Siegmund, which leads to tragic consequences as Wotan intervenes, resulting in Siegmund’s demise. Andreas Homoki’s Zurich production highlights emotional depth, with Gianandrea Noseda’s conducting enhancing Wagner’s nuances. The performances by Eric Cutler, Daniela Köhler, and Camilla Nylund are exceptional, supported by Christian Schmidt’s evocative set designs that reflect the majesty of Wagner’s world.
Siegfried
Wagner’s second day of the stage-festival drama showcases Siegfried’s journey as he seeks answers about his origins and confronts the dragon Fafner. Andreas Homoki emphasizes Siegfried’s innocence and courage, depicting his transformation from an unknowing orphan to a heroic figure. Gianandrea Noseda and the Philharmonia Zurich enhance Wagner’s themes of nature, heroism, and existential freedom through musical intensity. Klaus Florian Vogt’s portrayal, along with Camilla Nylund as Brünnhilde and Wolfgang Ablinger-Sperrhacke as Mime, adds layers of dark humor and cunning. Christian Schmidt’s set design vividly illustrates Siegfried’s self-discovery journey.
Götterdämmerung
The Zurich Opera’s production of Götterdämmerung, directed by Andreas Homoki and conducted by Gianandrea Noseda, concludes Wagner’s Ring Cycle with a powerful narrative of betrayal and downfall. The opera emphasizes Siegfried’s tragic conflicts, his betrayal of Brünnhilde, and his demise at Hagen’s hands. Performances by Klaus Florian Vogt as Siegfried and Camilla Nylund as Brünnhilde highlight the depth of their doomed love, while David Leigh’s portrayal of Hagen intensifies the drama surrounding Siegfried’s death. The production culminates in a gripping climax that explores themes of fate and redemption, leaving a lasting impact on the audience.