Prokofiev’s Fiery Angel is one of the outstanding operas of the 20th century. Director Andrea Breth transfers the story of Renata, who is plagued by visions, to a clinic. The atmosphere is characterised by agonising hopelessness, but at the same time heightened by the emotional excesses of the inmates. This monochrome approach, which dispenses with any historical embellishment, is legitimised by the careful elaboration of the characters. Aušrine Stundyte, one of the outstanding singing actors of our time, and the congenial Bo Skovhus play out the consequences of traumatisation with merciless precision in Breth’s interpretation. “Musically gripping, scenically intense.” (Wiener Zeitung) / “A scenic sensation.” (Kurier) / “Aušrine Stundyte succeeds in her singing balancing act between eruptive power and vulnerability.” (Die Presse)
Parsifal
Russian stage director Kirill Serebrennikov’s fearlessness, which one can almost physically feel in his productions, fascinates some as much as it confuses others. His radical reading of Wagner’s last magnificent opera at Wiener Staatsoper considers Parsifal as an opera of liberation, namely as a liberation from oneself through the realisation that the path to freedom can only be tackled by oneself. One central idea of this production is the doubled Parsifal, who drags his old ego of the past around with himself in order to leave it behind at the end. Opposite the wavering Parsifal figures stands a powerful Kundry. The whole cast excels, especially the central pairing of Jonas Kaufmann as Parsifal and Elina Garanca in her role debut as Kundry: two icons in prime vocal form and immersed in their roles to a degree that transcends the hype that surrounds them. Philippe Jordan conducting the Orchester der Wiener Staatsoper opts for a bright, fast Wagner. “A luxury cast for Wagner’s wonder sounds” Salzburger Nachrichten / “Serebrennikov conjures up worlds of images that never let you go.” FAZ
Simon Boccanegra
Verdi’s Simon Boccanegra is regarded by connoisseurs as an insider tip of oppressive topicality: men make history and women are the victims. A gloomy atmosphere, political power struggles, family dramas – live from the Vienna State Opera in the production of grandmaster Peter Stein with an excellent cast, starring Thomas Hampson in the title role, Francesco Meli as Gabriele Adorno and Marina Rebeka as the all-outshining Amelia. In the orchestra pit: Evelino Pidò.
Falstaff
The love-crazed, fat, old Falstaff becomes the laughing stock of a women’s intrigue. In Giuseppe Verdi’s comic opera – opulently staged by director David McVicar – Carlos Álvarez shines in the role of a vocally grandiose and stunningly funny Sir John. Impressive also the rest of the ensemble – above all, Vienna’s favorite Simon Keenlyside as Ford.
La Bohème
To mark the 125th anniversary of its premiere in Turin on February 1, 1896, the Teatro Regio celebrated Puccini’s most popular opera with an extraordinary staging in the historic costumes and sets designed by Adolf Hohenstein. The incredibly opulent, eternally valid staging of Paolo Gavazzeni and Piero Maranghi was exclusively presented for the recording. “The show appears to be alive, palpitating even in the unravelling of the direction, just enough to capture the most genuine atmosphere of the work with an abandon full of poetry.” (Connessi all’opera)
Super Diva – Opera for Everyone
The Portuguese Soprano and “opera communicator” Catarina Molder is opening the world of opera for new audiences of all ages and musical backgrounds in an absolute out of the box TV format which integrates magazine, documentary and fiction. After the success of ist preceding Portuguese seasons, Super Diva premieres with 13 English episodes. Each of them focuses on one super opera, unveils ist plot and context and reworks ist most emblematic super aria. World famous guests like Sir Antonio Pappano, Rolando Villazón, Gaëlle Arquez, Sonya Yoncheva or René Pape share their personal experiences in opera confessions. Finally, the Consulting Room! Opera Mix presents new exciting versions of great operatic hits. Super Diva also includes the innovative feature of twitter opera: newly commissioned operas in short film format which reflect upon present-day life and are thematically related to each episode’s super opera. Episodes: Die Zauberflöte, Macbeth, L’incoronazione di Poppea, Cavalleria rusticana, Fidelio, Norma, Otello, Carmen, Faust, Tosca, La forza del destino, Turandot, Tristan und Isolde.
Ermione
Ermione, the rare opera gemstone by Gioachino Rossini, like you have never seen it before: Filmmaker Felix Breisach captured the masterpiece, staged and conducted by Gustav Kuhn at the Tyrol Festival Erl in a shortened version especially made for this recording. The result is an opulent opera film, in which impressive exterior shots are combined with artistic shots of the dramatic action on stage. Maria Radoeva in the title role leads a cast of outstanding singers in a “festival” of “great voices” (Standard).
Tristan und Isolde
If there is one work that has been crucial to Barenboim’s conducting career, it has to Wagner’s Tristan und Isolde. From Bayreuth to Berlin through Milan and New-York, the Argentinian conductor has been working on piercing its secrets for more than 35 years, going as far as to author a book on the subject. In the pit of the newly renovated Staatsoper and at the head of the Staatskapelle Berlin, he once again makes magic happen. Dmitri Tcherniakov, no stranger to the work for having already staged it at the Mariinsky in 2005, delves into the psychological aspects of the drama and works to make the mythical lovers as relatable to as possible. He thus gives a new realistic depth to this opus, probably the most fascinating and odd among the wagnerian corpus. The Act III, which sees the tragic end of Tristan und Isolde’s doomed love affair, is striking by ist powerful simplicity, and the famous Liebestod, where Isolde bids farewell to her dead lover, reaches unparalleled levels of emotionality and intensity. Thanks to his demanding direction of the cast, but also to the precise light work by Gleb Filshtinsky, Tcherniakov once again manages to craft intense images which effectively resonate with the rapturous and voluptuous enchantments of the score. To complete this high-level artistic crew, the Staatsoper called upon some of the finest Wagner experts: Andreas Schager, already a superb Parsifal and a regular guest at the Bayreuth Festival, is Tristan, Anja Kampe is an unforgettable Isolde, and Ekaterina Gubanova thrills as Brangäne.
Macbeth
Giuseppe Verdi’s powerful opera “Macbeth” received a fulminant staging at the newly reopened Staatsoper Unter den Linden by legendary stage director Harry Kupfer. In this new production superstars Plácido Domingo and Anna Netrebko were singing the title roles. Maestro Daniel Barenboim led the Staatskapelle Berlin portraying the many-layered motives of the opera’s characters “at their very best” (NZZ). This “magical moment of opera” (NZZ) was an “exhilarating success” (SZ). While Domingo “still fascinates the audience after decades” (rbb24), Netrebko performed “perhaps the best role of her life” yet (rbb24). Kwangchul Youn and Fabio Sartori shone as Banquo and Macduff. With monumental choral scenes, the Staatsopernchor did not only sing, but also play ist acting role brilliantly. With ist black marble halls and ist larger-than-life-projections, the stage design by Hans Schavernoch was striking. “A lot of cheering for this evening of legends.” (BR Klassik)
Thielemann conducts Bruckner No. 1
Christian Thielemann and his Staatskapelle Dresden embark on their Bruckner Cycle at the Philharmonie in Munich with a radiant performance of Symphony No. 1. Thielemann, a more than experienced Bruckner interpreter, demonstrates his skill once more and shows a masterly control over his orchestra. “How Thielemann elicits diabolical trills and how he puts emphasis on syncopation, no matter how small – that’s in a class of ist own.” (Die Presse.com)