Produktionsrezensionen (8)

20 Aug. 2022 - 24 März 2019
Babylon, Widmann,  
Staatsoper Unter den Linden6 Vorstellungen
02 April 2019www.mundoclasico.comJesse SimonAn Ancient City Revisited
Christopher Ward provided the evening with focused, balanced direction, making sense of the score’s metallic textures, interjections of arrhythmic percussion and myriad musical references without depriving the most grandly-scaled scenes of their force. The choir, too, were on fine form, bringing a vast, weighty sound to key moments. If Mr Widmann intended the opening chorus and the surprisingly optimistic conclusion to sound unwieldy and slightly chaotic, the massed forces of the orchestra and choir gave them an accessible immediacy. Indeed, the musical clarity of Babylon’s most ambitious moments went some distance to tempering the story’s dramatic imbalances. If Mr Sloterdijk’s libretto was unwilling to let plot or character get in the way of large themes, Mr Widmann’s flirtations with traditional operatic pleasures and his ability to construct scenes on an epic scale may prove enough to draw audiences into the opera’s intellectual world. Babylon has traditionally been a world of spectacle, and the opera, for all its attempts at revisionism, was not without its own sense of the spectacular.
20 - 29 Jan. 2022
Ariadne auf Naxos, Strauss,R,  
Staatsoper Unter den Linden3 Vorstellungen
16 Juni 2015www.tagesspiegel.deDer TagesspiegelCarrion delicacies
"Miraculous music of transformation spills out of the orchestra pit. Ingo Metzmacher manages a remarkable evening there with the Staatskapelle Berlin: The permanent fine-tuning that Strauss demands of his orchestra between the conversational tone and the power center works almost without a hitch. Metzmacher even manages to bring out the modernity of the score without suffering any major loss of sensuality".
7 - 14 Jan. 2022
Hänsel und Gretel, Humperdinck,  
Staatsoper Unter den Linden5 Vorstellungen
11 Dezember 2017www.faz.netFAZDrunk with dreams and drives
And Sebastian Weigle, once the horn player of the Staatskapelle, now leads the opera as a conductor with a deep understanding of the forest romance and the sensitivity of the fairy tale tone: he places the orchestra's most cautious pianissimo under the enchantingly clear voices of Katrin Wundsam as Hansel and Elsa Dreisig as Gretel. "
11 Dezember 2017www.faz.netFAZWith hoop skirts and Spanish ruffles
That is certainly the greatest architectural and acoustic treasure of this house: proximity. In Achim Freyer's production of “Hansel and Gretel” you sit inside a child's heart. It is a dark room of dreams and lust, of fear and wishes, of a fantasy that gives birth to the monstrous: a garden spider as God in heaven, a giant cat with white mice sticking to its tongue, and a witch with sausage lips and a coffee cup hat.
27 Jan. - 24 Feb. 2019
Elektra, Strauss,R,  
Staatsoper Unter den Linden4 Vorstellungen
29 Januar 2019bachtrack.comSarah SchnoorIrre und traurig: Familiendrama Elektra an der Staatsoper Berlin
Ricarda Merbeth verkörperte eine Elektra, die in ihren eigenen Gedanken gefangen ist. Schon mit den Rufen nach „Agamemnon“ ergriff sie die Herzen des Publikums. Ihre starke Stimme mit großem Vibrato, kann nicht nur markerschütternd sein, sondern auch überraschend fein und warm, als sie die Rückkehr ihres Bruders Orest besang. Sie wurde immer mehr zur Elektra und selbst in den hohen Lagen war sie gut zu verstehen.
7 - 28 Okt. 2018
Médée, Cherubini,  
Staatsoper Unter den Linden6 Vorstellungen
29 Oktober 2018toutelaculture.comNICOLAS CHAPLAINMédée : Sonya Yoncheva dans les pas de Callas
On connaît la qualité de la Staatskapelle de Berlin, l’expressivité, l’énergie et le lyrisme que lui insuffle son chef Daniel Barenboim. Pour Médée, le chef exacerbe la violence de la partition, sculpte avec précision et fermeté un climat sombre et furieux, étire les tempi, accentue les contrastes, ose des nuances très faibles sans renoncer à la brutalité. L’orchestre, superbe, se montre particulièrement menaçant, acéré et déploie des couleurs amples et intenses, mystérieuses et weberiennes.
4 - 17 März 2018
Salome, Strauss,R,  
Staatsoper Unter den Linden5 Vorstellungen
04 März 2018www.concerti.dePeter KrauseAseptischer Strauss-Rausch
Neuenfels inszeniert in der extremen Reduktion seine Regie überaus präzise und konzis. Oft hat man seine Arbeit zuletzt altmeisterlich genannt. Das trifft grundsätzlich auch jetzt wieder zu. Viele Figuren profitieren davon: Zumal Marina Prudenskaya als very First Lady-like, mit Monroe-Grandezza ausgestattete Herodias. Aber auch Gerhard Siegel als nie zu schleimiger Operettenfürst Herodes, den er stimmlich großartig zwischen Helden- und Charaktertenor changierend singt. Und das zentrale Paar? Sehr treffend zeichnet Neuenfels den Jochanaan als mit seiner Moral hadernden Mann Gottes, der vor Salome kniend schon die Arme um sie gelegt hat, die er dann aber – wie von sich selbst erschrocken – wieder verkrampft von ihr abspreizt.
2 - 17 Juli 2016
Il trovatore, Verdi,  
Royal Opera House11 Vorstellungen
16 Juli 2016www.thelondonmagazine.orgStuart MartinReview | Il Trovatore at Teatro Real
Francisco Negrin directed this production. It looks quite utilitarian (one set, grey with doors and openings on each side and a fire constantly burning at the front of the stage), however Negrin does some very interesting things with the production. He focuses on Azucena the gypsy and her history, the overture and the first aria (Di due figli vivea padre beato) in which a brilliant Tagliavini’s Roberto recounts the sorry history in one corner of the stage.Ludovic Tézier is, in my opinion, one of the best baritones in the world, and in this performance he more than lives up to that reputation as the evil Count di Luna. Tézier doesn’t just ‘do’ evil though. Through his wonderful use of colour and his strong acting, he humanises the Count, making him more morally grey in a black and white world. His singing is just perfect, that range, that timbre – it was a genuine pleasure to listen. Maria Agresta as Leonora was again, fantastic, she gave it everything that she had. Her D’amor sull’ali rosee in particular was stunning, and brought the house down.This production is a brilliant exploration of the characters. Negrin adds depth and humanity to the performance, which is so rare and important for this opera in particular. The leading cast and chorus were brilliant, with some truly phenomenal, and at points, haunting, singing and acting, a must see.