At the Teatro Regio di Parma, director Valentina Carrasco centres her interpretation of this early, seldomly performed Verdi opera around the horse: “The horror of armed conflict passes through the presence of horses, used by soldiers, petted and cared for, but also killed and disfigured, a symbol of those who pay the price of war without ever having started it or wanting to” (Connessi all’Opera). The cast is excellent, above all Marina Rebeka as Lida with “precise virtuosity” (Connessi all’Opera) and Antonio Poli as Arrigo, who “portrays a sensitive, human hero” with a “robust, full voice” (GB Opera). The young conductor Diego Ceretta at the helm of the Orchestra of the Teatro Communale di Bologna delivers a clear interpretation of the score as he sets a “pressing narrative structure” and highlights “the many timbral and harmonic details” of the music (Teatro). The true star of the production is the Chorus of the Teatro Communale di Bologna, which convinces with “volume, roundness, and beauty of sound” (GBOpera).
Fedora
An overwhelming story of passion, violence and betrayal, this production of Fedora is a true cinematographic thriller. Director Mario Martone draws on paintings by Magritte for the staging and atmosphere, supported by the noir-inspired stage design by Margherita Palli. Marco Armiliato, giving his Scala debut, “perfectly captures the decadent nature of the opera, drawing on a rich and nuanced colour palette” (Teatro). Soprano superstar Sonya Yoncheva “tackles the title role with all the charisma of the prima donna, with a magnetic
Faust
“Radical and ingenious, unsettling and beguiling” (Kurier), this production of Gounod’s Faust at the Vienna State Opera ticks all the boxes. Legendary director Frank Castorf moves the action to a tumultuous 1960s Paris and draws the audience in with an abundance of elements that seamlessly blend into one: “Everything has its place. There is not a single superfluous video, no detail without meaning, and each of the characters can tell their own story” (News). The action on stage is expertly supported in the pit as Bertrand de Billy “makes the score shine and resonate magnificently” (Tiroler Tageszeitung). The cast is star-studded, lead by Juan Diego Flórez giving his debut as Faust. He sings the role with “impeccable French diction, allowing his warm tenor to shimmer” (Kronenzeitung). Nicole Car’s Marguerite was “beautiful, silvery-toned” (Seen And Heard) and the young bass Adam Palka is convincing as Mephisto, “alternating between devilish, camp, erotic and sadistic” (APA).
Turandot
Director David Livermore presents a stunning new production of Turandot at Teatro alla Scala, blending modern Asian influences with spiritual and fantastical elements. Soprano Anna Netrebko delivers an “imperial” performance, skillfully handling the demanding role. Yusif Eyvazov as Calaf shows “flawless technique,” while Raul Gimene’s Altoum and Vitalij Kowaljow’s Timur receive praise. Rosa Feola’s portrayal of Liù is emotional, culminating in a poignant death scene illuminated by candles. The opera pauses for a moment of silence for Puccini before resuming with the triumphant finale.
Così fan tutte
“The execution is vibrant, the individual voices outstanding, and the ensemble homogeneity even more so.” (Frankfurter Rundschau) To conclude his Da Ponte cycle at the Vienna State Opera, Barrie Kosky turns Don Alfonso into a theatre director rehearsing a stage play with the two young couples at the center of the story: “He presents the Da Ponte opera as a coherent, sophisticated game within a game: a director uses method acting to release feelings that can no longer be controlled” (News). As is typical for a Kosky-lead production, there is constant action, which the ensemble executes with exuberance. Philippe Jordan leads the orchestra of the Vienna State Opera from the pianoforte, managing to “strike a balance between classical beauty and vibrancy, without resorting to tricks and mannerisms to make things exciting” (Kleine Zeitung).
Don Carlo
“vocal luxury was the order of the day”(Die Deutsche Bühne) In this new production of Verdi’s Don Carlo, director Kirill Serebrennikov sets the opera in a historic costume research institute, blending history with the present. Silent actors in historic costumes symbolize self-aggrandizement and emotional confinement. Conductor Philippe Jordan is praised for his sensitivity. Joshua Guerrero effectively portrays Don Carlo, while Etienne Dupuis’s Posa is a charming freedom fighter. Roberto Tagliavini stands out as Filippo II, and Eve-Maud Hubeaux impresses alongside Asmik Grigorian, who shines in her role debut as Elisabetta, delivering a powerful performance that resonates deeply with the audience.
Tristan und Isolde
“It would be most wonderful if this Tristan never ended.” (Opernmagazin) “Brilliant performances that bring you to your knees” (Sächsische Zeitung) Every piece of the puzzle fell perfectly into place for this historic performance of Wagner’s Tristan und Isolde at the Semperoper Dresden. In front of a pared down, timeless staging by Marco Arturo Marelli, the vocal performances could truly shine. Klaus Florian Vogt is “fully present” (Opernmagazin) and Camilla Nylund as Isolde at his side “convinced with her still incredibly lyrical, light soprano” (Sächsische Zeitung). At the zenith of his career, Christian Thielemann manages to set a new standard with his permeation of this difficult score and leads the Staatskapelle Dresden to new heights of artistic expression.
Pique Dame
“Magnetic pull: Soprano Asmik Grigorian shines” (Salzburger Nachrichten) “Madness in close-up” (BR Klassik): Director Benedict Andrews plunges Tchaikovsky’s Pique Dame at the Bavarian State Opera into a cinematic film noir aesthetic, in which the characters regularly seem to vanish into shadow and mystery. Brandon Jovanovich “plays a credibly broken anti-hero as Hermann” (Münchner Merkur) and Asmik Grigorian as Lisa once again steals the show with her unerring dramatic and vocal skills. Conductor Aziz Shokhakimov gives a convincing debut at the podium of the state orchestra, managing a “dramatically stirring, propulsive interpretation” (FAZ).
Otello
Never has Giuseppe Verdi composed revenge, intrigue and jealousy fierier and more diabolical than in his late opera Otello. One of the greatest love stories in literature – Otello is the second of Verdi’s three Shakespeare operas – fails brutally, cruelly and senselessly. With the title role of Otello, Jonas Kaufmann takes on what is probably the most demanding part of his vocal register He is “in splendid form” (Kronen Zeitung) and “has sung his way into the Olympus as an interpreter of Otello” (klassik-begeistert.de) with this performance. Baritone Ludovic Tézier “is unrivalled as Lago” (Kurier). “This baritone’s attacks are like acts of tonal violence, his legato mischief clever manipulations. A devil on earth.” (Der Standard) Soprano Rachel Willis-Sørensen is “a Desdemona to fall in love with” (Die Presse) with “a voice to kneel down to, with a timbre that captivates” (klassik-begeistert.de). Adrian Noble’s staging moves the action to circa 1900, stripping it of its historical context. Emphasizing the inner world of the main character and his emotional disintegration, his Otello becomes “a psychological thriller” (bachtrack.com).
Werther
The lyrical drama Werther, based on Johann Wolfgang von Goethe’s novel, remains Jules Massenet’s best known stage work to this day. Piotr Beczala in the title role “impresses with his bomb-proof technique, free high notes and intelligent interpretation. The tenoral highlight of the evening – “Pourquoi me reveiller” – shone with a palette of tonal colours and offered an ideal combination of power and emotion” (bachtrack.com). Werther’s love Charlotte is sung by Gaëlle Arquez. Her “soulful mezzo is finely timbred, buzzing and blazing” (Wiener Zeitung). “Bertrand de Billy leads the orchestra thrillingly through this wonderful work, dramatic, then delicately lyrical, highly differentiated, full of sound.” (Kurier)