“Aural pleasure at the Wolkenturm” is how the Kurier newspaper described it, referring to the “top-flight summer night’s gala from Grafenegg”, taking place in the picturesque open air ambience of Grafenegg, Lower Austria. Under the artistic overall direction of pianist Rudolf Buchbinder the Grafenegg Festival has blossomed into a benchmark event for all the top stars on the classical music scene. A potpourri of lovely melodies from the world of opera, operetta and the concert hall, which brought praise from the audience and from the Wiener Zeitung: “Piotr Beczala’s wonderful operetta top notes, Elisabeth Kulman’s rich mezzo and Julia Fischer’s graceful violin playing with her refined reading of catchy Spanish tunes” are the ingredients for an unmatched evening recital in Grafenegg.
Bregenz Festival 2015: Turandot
Mention Giacomo Puccini’s name and opera-lovers all over the world will think of grand opera and passionate love stories. One of the world’s most famous arias comes from the composer’s final opera, Turandot: “Nessun dorma” – none shall sleep because by morning the Chinese princess is determined to have discovered the name of the unknown prince. The work is remarkable for its Chinese local colour, its opulent crowd scenes, its powerful choruses and its characters overwhelmed by their emotions. Enthusiastically acclaimed by its audiences, the present production combines spectacular and touching scenes on the Bregenz Festival’s vast lakeside stage. “Melodies for millions, impressively staged” bringing “a bit of Hollywood to Bregenz” (ZDF heute journal TV news programme).
Fidelio
The Salzburg Festival presents Ludwig van Beethoven’s one and only opera, his masterpiece: Fidelio, in a new production staged by Claus Guth, conducted by Franz Welser-Möst and starring Jonas Kaufmann as Florestan. The casting is remarkable in this beautiful new production by the Salzburg Festival. Adrianne Pieczonka embodies the faithful Leonore and Jonas Kaufmann, more tragic than ever, lends his voice to Florestan. The Wiener Philharmoniker and the Konzertvereinigung Wiener Staatsopernchor conducted by Franz Welser-Möst join them in this remarkable performance.
Bregenz Festival 2015: Les Contes d’Hoffmann
“The opera visit of the year – Bregenz is showing a Tales of Hoffmann that makes you forget everything you saw before.” (FAZ) Sparkling with creativity, Stefan Herheim’s new staging of Jacques Offenbach’s opera Les contes d’Hoffmann at the Bregenz Festival, starring Kerstin Avemo, Mandy Fredrich, Rachel Frenkel, Daniel Johansson and Michael Volle, was received by an enthusiastic audience with standing ovation and frenetic applause. The international press agreed wholeheartedly: The New York Times praised the “thoughtfulness and creativity” of the new production, devised by the director as a search for one’s own self in a sparkling drag show.
Ariadne auf Naxos
Here is one of the truly overwhelming successes in recent opera history: Christian Thielemann’s sensational return to the Vienna State Opera to conduct his first-ever performances there of Richard Strauss, with an ideal cast in an acclaimed production of Ariadne auf Naxos, featuring Peter Matic, Sophie Koch, Soile Isokoski and Johan Botha, stage directed by Sven-Eric Bechtolf. “A triumph […] world stars and ensemble shine” (Die Presse). “Strauss in all his glory”(Wiener Zeitung).
Salzburg Easter Festival: Cavalleria rusticana
“Opera as Great Romantic Cinema”, wrote the Salzburger Nachrichten about the two one-act operas Cavalleria rusticana and Pagliacci, which proved real crowd-pullers and ensured record attendances at the Salzburg Easter Festival. No wonder, for “Jonas Kaufmann, for whom it was in both cases his role debut, was on stellar form twice” (Daily Telegraph). “Kaufmann sings both parts so lyrically, with such italianità, mellow with impeccable highs, as to be a pure delight.” (Kurier) Equally impressive are Thielemann – “the uber-conductor” (Telegraph) – and the Dresdeners, who “take time for sensitive, melodious soul portraits, while delivering consummate drama at just the right moment. What we hear from the pit is sensational in its nuances.” (Kurier) The scene is set by film and opera director Philipp Stölzl, contributing to the performance’s huge fascination: Stölzl divides the stage into several levels, staging crowd scenes below, private feelings above – the latter projected with filmic close-ups – doubling and trebling the action. Productions like this, insists Kurier, “simply must be described as worldclass”. “Thrilling” concludes the Telegraph.
Salzburg Easter Festival: Pagliacci
“Opera as Great Romantic Cinema”, wrote the Salzburger Nachrichten about the two one-act operas Cavalleria rusticana and Pagliacci, which proved real crowd-pullers and ensured record attendances at the Salzburg Easter Festival. No wonder, for “Jonas Kaufmann, for whom it was in both cases his role debut, was on stellar form twice” (Daily Telegraph). “Kaufmann sings both parts so lyrically, with such italianità, mellow with impeccable highs, as to be a pure delight.” (Kurier) Equally impressive are Thielemann – “the uber-conductor” (Telegraph) – and the Dresdeners, who “take time for sensitive, melodious soul portraits, while delivering consummate drama at just the right moment. What we hear from the pit is sensational in its nuances.” (Kurier) The scene is set by film and opera director Philipp Stölzl, contributing to the performance’s huge fascination: Stölzl divides the stage into several levels, staging crowd scenes below, private feelings above – the latter projected with filmic close-ups – doubling and trebling the action. Productions like this, insists Kurier, “simply must be described as worldclass”. “Thrilling” concludes the Telegraph.
Simon Rattle conducts Sibelius
For the recent major London residency of the Berliner Philharmoniker at the Barbican Sir Simon Rattle has chosen music that means most to him, the complete cycle of Sibelius symphonies in honour of the 150th anniversary of the composer’s birth: “Sibelius is so concentrated and exact. With Sibelius you feel that if one drop touches your skin it would burn right through the bone.“ “High-voltage Sibelius kicks off Rattle’s London Residency” raved the press consequently over the opening of the cycle. The Telegraph agreed: “Sibelius’s symphonies sounded thrillingly new in the hands of Simon Rattle and the Berlin Phil”, in a way, that “a great orchestra and conductor can make familiar music seem the hottest thing in town”.
West-Eastern Divan Orchestra at the Proms
The orchestra’s London appearance, as part of the 120th anniversary Proms season, marked a significant date for Barenboim himself: he was celebrating 65 years (less a day) since making his debut in his native Buenos Aires. His programme cleverly contrasts the anti-Romantic terseness and crystalline beauty of Schoenberg’s Chamber Symphony – “a taut, rhythmic performance with a fine sense of dramatic momentum” (Evening Standard) – with the tempestuous emotionalism of Tchaikovsky’s opus, where “the orchestra rose to all technical challenges in an interpretation of overwhelming energy and power” (The Guardian), while Beethoven’s Triple Concerto could almost serve as a paradigm for the orchestra’s egalitarian ethos where Barenboim and his partners “offered urbane poise, ideally suited to this relaxed, airily melodic work” (The Telegraph). PROGRAM Schoenberg: Chamber Symphony; Beethoven: Triple concerto; Tchaikovsky Symphony No. 4
John Wilson at the BBC Proms – Tribute to Leonard Bernstein
John Wilson and his orchestra are an annual Proms highlight, bringing the glitz and glamour of old-time stage and screen to the Royal Albert Hall. The performance this year is all about Leonard Bernstein – America’s multitalented conductor, pianist and composer. He reinvented the musical with the anger, energy and feral beauty of West Side Story, his updated take on Romeo and Juliet. A starry cast of soloists including Proms favourite Julian Ovenden and the West End’s Louise Dearman join the John Wilson Orchestra and Maida Vale Singers for a tribute to the composer that includes Bernstein’s biggest hits as well as a selection of rarities. And with vivid colour, foot-tapping energy, and evident enjoyment on the part of conductor, orchestra and chorus America’s multitalented conductor, pianist and composer could not have been better remembered: “An evening of highlight after highlight – John Wilson together with his handpicked forces brought the house down. 5 out of 5 stars!” (Evening Standard)