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Archive for February, 2011

Michael Thalheimer’s non-staging of Mozart’s Die Entführung aus dem Serail for the Deutsche Staatsoper has an interesting strategy to prevent the audience from running away during the interval – it has no intervals. The good news is that the transmigration for the Schillertheater has the dubious advantage of allowing the whole audience to see the [...]

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My three or four reader (I guess by now I can say five or six) may remember how much I disliked Andreas Kriegenburg’s production of Verdi’s Otello for the Deutsche Oper, but I guess they would understand why I saw it again when they learn that Soile Isokoski was taking the role of Desdemona. Other [...]

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Die Lieber der Danae is probably the most notable rarity among the R. Strauss’s later operas. Although Hofmannsthal original ideas were already quite convoluted, Joseph Gregor’s nonsensical libretto has a great deal of share in the work’s unpopularity. The composer himself often complained that he couldn’t find inspiration in Gregor’s verses. And Strauss did not [...]

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For someone who has truly lost interest in La Traviata, I’ve been quite often in the opera house for it. To be more specific, the only reason why I went to the Deutsche Oper today was Anja Harteros – and maybe I was curious to see Simon Keenlyside after a while (last time, it was [...]

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As a great admirer of Handel’s Acis and Galatea, I thought I should give his earlier serenata a chance live at the theatre. It was a busy day and unfortunately I was not in the right mood for it. It is not my favorite work of Handel’s Italian period – and the numbers that I [...]

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In an attempt to give a twist to the usual orchestral concert, the minds behind the Deutsche Oper had the preposterous idea of inviting a Patch-Adams-like physician to moderate in a Mozart/R. Strauss program. When Intendentin Kirsten Harms introduced him as a Glückspezialist, I could not help understanding he was some sort of expert in [...]

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Although Tommaso Traetta was an important name among the Reform composers, whose influence on the young Mozart can be clearly felt not only in works like Mitridate or Lucio Silla, but also in Idomeneo, his operas are today all but forgotten. Before Cristophe Rousset recorded his Antigona for Decca a couple of years ago, most [...]

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