Young, Russian, world class: the Russian National Youth Symphony Orchestra (RNYSO), under the direction of Julian Rachlin and with Denis Matsuev as soloist, made the first guest appearance in the Wiener Musikverein. On the programme are masterpieces by Tchaikovsky: his First Piano Concerto and his Fifth Symphony. Emerging from an all-Russian competition for young talents in 2018, the RNYSO unites 100 outstanding Russian musical talents from 28 cities. In its first season, the RNYSO gave over 40 concerts in Russia. PROGRAM Tchaikovsky: Piano Concerto No. 1, Symphony No. 5, Méditation, Op. 72/5, The Nutcracker: Trepak / Danse Russe
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).
Ein deutsches Requiem
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.”
Giuditta
Giuditta was to be Franz Lehár’s ticket to the world of opera: His “Spieloper” or “musical comedy” was triumphantly premiered in January 1934. Intoxicating melodies and borrowings from Puccini, whom Lehár admired, and his tragically loving characters stand alongside operetta-like innocuousness. However, the end of the plot is by no means cheerful; the lovers Giuditta and Octavio go their separate ways in resignation. The “musical comedy” thus only seems to stand in stark contrast to the social present of the emerging war, the 1930s. Director Christoph Marthaler, known for his whimsically beautiful theatre evenings, picks up on the ambivalence of Lehár’s characters, who vacillate between opulence and resignation, between euphoria and the abyss. Orchestral music by Béla Bartók, Erich Wolfgang Korngold or Dmitri Shostakovich, songs by Viktor Ullmann, Hanns Eisler or Alban Berg as well as excerpts from Sladek oder Die schwarze Armee by Ödön von Horváth radically place Lehár’s operetta in the context of its time of origin. Giuditta in Christoph Marthaler’s version tells a love story within the turmoil and confusion of the times, brilliantly realised by a top-class cast led by Vida Mikneviciute and Daniel Behle.
Così fan tutte
With Mozart’s Cosi fan tutte, the Staatsoper Unter den Linden continues its acclaimed Da Ponte Cycle, designed jointly by director Vincent Huguet and conductor Daniel Barenboim. “Huguet places the action in a French-style and coherent manner in an environment that could be set either in today’s world or in the flower child world of the late 60s and 70s. In doing so, he understands Cosi as what it probably was according to the intentions of Mozart and Da Ponte. And Cosi fan tutte, which has always been thought to have a tendency to be misogynistic, suddenly shimmers in a friendlier, modern light: Is it not free love that is the problem, but the strict, outdated, basically inhuman understanding of fidelity?” (Der Tagesspiegel). Federica Lombardi, Marina Viotti, Gyula Orendt, Paolo Fanale, Barbara Frittoli, and Lucio Gallo embody their roles vocally impressively and with pleasure in the play. “The work of the young French director Vincent Huguet showed well pointed humour” (Musik heute).
Sleepless
Adapting a short story of the same title by the Norwegian writer Jon Fosse, Hungarian conductor-composer Péter Eötvös, one of the most influential figures in contemporary music, wrote Sleepless on commission. He and librettist Mari Mezei interweave snapshots of the existential search for belonging, crime as a response to human indifference and the struggle with a sense of being out of place, generating a somewhat suggestive, operatic stream of consciousness. The world premiere also marks the Staatsoper Unter den Linden debut of the Hungarian film, theatre and opera director Kornél Mundruczó, well-known for cinematically realistic works that often address contemporary social themes.
Thielemann conducts Strauss
Following the complete recordings of the symphonies of Brahms and Schumann, the Staatskapelle Dresden and Christian Thielemann are turning their attention to the work of Richard Strauss. While the Sächsische Zeitung wrote about Morley that she “indulged the songs with great delight and the finest feeling”, Der Standard wrote about Thielemann: “Great clarity, great class. The inner charge of the instrumental, this intensity palpable in every note, with which the Staatskapelle Dresden immediately stormed into Strauss’s Heldenleben, revealed Thielemann’s well-known strengths: he succeeds in uniting impulsivity and balance in the sound as well as expressive melodic surging and structural clarity.” PROGRAM: Strauss “An die Nacht“, “Ich wollt ein Sträußlein binden“, “Säusle, liebe Myrthe!“, “Als mir dein Lied erklang“, “Amor“ from Op. 68 “Muttertändelei“, “Ein Heldenleben“; Hennig: “Nacht“
La Traviata
Fondly known as “La Traviata of the Mirrors”, this iconic production returns to the familiar Macerata Opera Festival. The exeptional staging designed by Josef Svoboda allows the audience to experience a masterpiece through the gaze of giant mirrors. This production with new costumes stirs emotions and engulfs you in the tragedy that is Violetta Valéry’s predicament. Soprano Claudia Pavone brings the famous courtesan to life. The Sferisterio Opera Festival in Macerata, central Italy, has become a true gem whose performances are enthusiastically acclaimed by audiences of genuine opera lovers from far and wide. The open-air stadium (Sphaeristerium) was constructed 1820-29 and is one of the most renowned neo-classical buildings in Italy.
Il signor Bruschino
“A wonderful, turbulent comedy about a girl willing to marry, but whose guardian causes problems, rivalties, financial debts, false identities and more. The directing duo – André Barbe and Renaud Doucet – made their debut with this production in Pesaro. They brought Rossini’s wit in music and plot to the point in a very entertaining manner.” This is how the Deutschlandfunk describes Rossini’s Il signor Bruschino at the Rossini Festival in Pesaro. Jack Swanson’s and Marina Monzó’s beautiful voices are particularly inspiring with technique and elegance in the colourful, pittoresque and lovingly designed set.
Aida
The 2021 edition of the Macerata Opera Festival was inaugurated with the same opera chosen in 1921 by Count Pier Alberto Conti. At that time, the Sferisterio, formerly a stadium for an ancient ball game, was turned into a venue for opera performances. 2021 was actually a double celebration: Aida, one of the most loved operas, premiered in Cairo in 1871, so this marks its 150th anniversary. Teatro. “A completely singular reading of Verdi’s score, supported by an undisputed musicality.” Connessi all’opera