From today| Date | Event | Composers, Works, Performers |
|---|---|---|
| Friday 24-May-13 07:30pm |
 Staatsoper at Schiller Theater, BerlinThe Magic Flute |
Staatsoper Berlin Alexander Soddy, Conductor August Everding, Director Fred Berndt, Set Designer Eberhard Friedrich, Choirmaster Pavol Breslik, Tenor: Tamino Adriane Queiroz, Soprano: Pamina Roman Trekel, Baritone: Papageno Narine Yeghiyan, Soprano: Papagena Anna Maria Siminska, Soprano: Queen of the Night René Pape, Bass: Sarastro Arttu Kataja, Bass: Speaker (der Sprecher) Michael Smallwood, Tenor: Monostatos Paul O'Neill, Tenor Michael Kraus, Baritone Carola Höhn, Soprano Rowan Hellier, Mezzo-soprano Anna Lapkovskaja, Mezzo-soprano Kyungho Kim, Tenor Alin Anca, Bass Staatskapelle Berlin Staatsopernchor Berlin |
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| Staatsoper at Schiller Theater, Berlin, Bismarckstraße 110, 10625 Berlin, Germany Friday 24-May-13 07:30pm Karl Friedrich Schinkel's fascinating stage design for the appearance of the Queen of the Night, with a starry dome and a narrow crescent, has become famous. The designs of the architectural genius of "The Magic Flute" from the year 1816 are the basis of this staging by August Everding.Image credit: © Monika Rittershaus Alexander Soddy, Conductor August Everding, Director Fred Berndt, Set Designer Eberhard Friedrich, Choirmaster Pavol Breslik, Tenor: Tamino Adriane Queiroz, Soprano: Pamina Roman Trekel, Baritone: Papageno Narine Yeghiyan, Soprano: Papagena Anna Maria Siminska, Soprano: Queen of the Night René Pape, Bass: Sarastro Arttu Kataja, Bass: Speaker (der Sprecher) Michael Smallwood, Tenor: Monostatos Paul O'Neill, Tenor Michael Kraus, Baritone Carola Höhn, Soprano Rowan Hellier, Mezzo-soprano Anna Lapkovskaja, Mezzo-soprano Kyungho Kim, Tenor Alin Anca, Bass Staatskapelle Berlin Staatsopernchor Berlin | ||
| Friday 14-Jun-13 |
Staatsoper, Vienna Il Barbiere di Siviglia |
Vienna State Opera Michael Güttler, Conductor Günther Rennert, Revival Director Richard Bletschacher, Director Javier Camarena, Tenor: Count Almaviva Alfred Sramek, Bass: Dr. Bartolo Sorin Coliban, Bass: Don Basilio Margarita Gritskova, Mezzo-soprano: Rosina Tae-Joong Yang, Baritone: Figaro |
| More info... | ||
| Staatsoper, Vienna, 1010 Vienna, Austria Friday 14-Jun-13 Il Barbiere di Siviglia Michael Güttler, Conductor Günther Rennert, Revival Director Richard Bletschacher, Director Javier Camarena, Tenor: Count Almaviva Alfred Sramek, Bass: Dr. Bartolo Sorin Coliban, Bass: Don Basilio Margarita Gritskova, Mezzo-soprano: Rosina Tae-Joong Yang, Baritone: Figaro | ||
| Tuesday 18-Jun-13 07:30pm |
Opéra Bastille, Paris Das Rheingold |
Opéra de Paris Philippe Jordan, Conductor Günter Krämer, Director Egils Silins, Bass-baritone: Wotan Samuel Youn, Bass-baritone: Donner Bernard Richter, Tenor: Froh Kim Begley, Tenor: Loge Peter Sidhom, Baritone: Alberich Wolfgang Ablinger-Sperrhacke, Tenor: Mime Lars Woldt, Bass: Fasolt Günther Groissböck, Bass: Fafner Sophie Koch, Mezzo-soprano: Fricka Edith Haller, Soprano: Freia Qiu Lin Zhang, Mezzo-soprano: Erda Caroline Stein, Soprano: Woglinde Louise Callinan, Soprano: Wellgunde Wiebke Lehmkuhl, Mezzo-soprano: Flosshilde |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Tuesday 18-Jun-13 07:30pm For the first time in 60 years, the Paris Opera is performing all four parts of The Ring of the Nibelung over a ten-day period, conducted by Philippe Jordan, the Opera’s musical director. Performed in German. Philippe Jordan, Conductor Günter Krämer, Director Egils Silins, Bass-baritone: Wotan Samuel Youn, Bass-baritone: Donner Bernard Richter, Tenor: Froh Kim Begley, Tenor: Loge Peter Sidhom, Baritone: Alberich Wolfgang Ablinger-Sperrhacke, Tenor: Mime Lars Woldt, Bass: Fasolt Günther Groissböck, Bass: Fafner Sophie Koch, Mezzo-soprano: Fricka Edith Haller, Soprano: Freia Qiu Lin Zhang, Mezzo-soprano: Erda Caroline Stein, Soprano: Woglinde Louise Callinan, Soprano: Wellgunde Wiebke Lehmkuhl, Mezzo-soprano: Flosshilde | ||
| Tuesday 25-Jun-13 07:30pm |
Holland Park Theatre, London Les pêcheurs de perles Opera Holland Park |
Anna Leese, Soprano: Leila Grant Doyle, Baritone: Zurga Jung Soo Yun, Tenor: Nadir Keel Watson, Bass: Nourabad |
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| Holland Park Theatre, London, Holland Park, London W8 6LU, United Kingdom Tuesday 25-Jun-13 07:30pm Tickets from £12 - £67.50 will be on sale from 25th April.Anna Leese, Soprano: Leila Grant Doyle, Baritone: Zurga Jung Soo Yun, Tenor: Nadir Keel Watson, Bass: Nourabad | ||
| Thursday 27-Jun-13 07:30pm |
Holland Park Theatre, London Les pêcheurs de perles Opera Holland Park |
Anna Leese, Soprano: Leila Grant Doyle, Baritone: Zurga Jung Soo Yun, Tenor: Nadir Keel Watson, Bass: Nourabad |
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| Holland Park Theatre, London, Holland Park, London W8 6LU, United Kingdom Thursday 27-Jun-13 07:30pm Tickets from £12 - £67.50 will be on sale from 25th April.Anna Leese, Soprano: Leila Grant Doyle, Baritone: Zurga Jung Soo Yun, Tenor: Nadir Keel Watson, Bass: Nourabad | ||
| Wednesday 3-Jul-13 07:30pm |
Holland Park Theatre, London Les pêcheurs de perles Opera Holland Park |
Anna Leese, Soprano: Leila Grant Doyle, Baritone: Zurga Jung Soo Yun, Tenor: Nadir Keel Watson, Bass: Nourabad |
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| Holland Park Theatre, London, Holland Park, London W8 6LU, United Kingdom Wednesday 3-Jul-13 07:30pm Tickets from £12 - £67.50 will be on sale from 25th April.Anna Leese, Soprano: Leila Grant Doyle, Baritone: Zurga Jung Soo Yun, Tenor: Nadir Keel Watson, Bass: Nourabad | ||
| Saturday 6-Jul-13 07:30pm |
Holland Park Theatre, London Les pêcheurs de perles Opera Holland Park |
Anna Leese, Soprano: Leila Grant Doyle, Baritone: Zurga Jung Soo Yun, Tenor: Nadir Keel Watson, Bass: Nourabad |
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| Holland Park Theatre, London, Holland Park, London W8 6LU, United Kingdom Saturday 6-Jul-13 07:30pm Tickets from £12 - £67.50 will be on sale from 25th April.Anna Leese, Soprano: Leila Grant Doyle, Baritone: Zurga Jung Soo Yun, Tenor: Nadir Keel Watson, Bass: Nourabad | ||
| Monday 8-Jul-13 07:00pm |
National Theatre, Munich Il trovatore Munich Opera Festival |
Paolo Carignani, Conductor Olivier Py, Director Alexei Markov, Baritone: The Count Di Luna Anja Harteros, Soprano: Leonora Elena Manistina, Mezzo-soprano: Azucena Jonas Kaufmann, Tenor: Manrico Kwangchul Youn, Bass: Ferrando Golda Schultz, Soprano: Ines |
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| National Theatre, Munich, Munich, Germany Monday 8-Jul-13 07:00pm "If you travel to India and to Central Africa, you'll hear Trovatore.“ Nine years after the triumphant first performance, Verdi's opera had achieved the worldwide popularity that moved the composer to make this comment. The fabric of the opera could hardly be more gloomy: a gypsy who wishes to avenge the death of her mother at the stake, a count who wishes to use the execution of this gypsy to strike at his rival; a horrifying truth that is revealed at the moment of death. All the ingredients of Verdi's dramatic abundance appear here: mysterious sound worlds, harsh contrasts, vocal brilliance, opulent tableaux. The cohesive narrative style gives way to the variation of suggestive musical images with which Verdi served "the most important part of the drama“: revenge.In Italian with German surtitles.Paolo Carignani, Conductor Olivier Py, Director Alexei Markov, Baritone: The Count Di Luna Anja Harteros, Soprano: Leonora Elena Manistina, Mezzo-soprano: Azucena Jonas Kaufmann, Tenor: Manrico Kwangchul Youn, Bass: Ferrando Golda Schultz, Soprano: Ines | ||
| Tuesday 9-Jul-13 07:30pm |
Holland Park Theatre, London Les pêcheurs de perles Opera Holland Park |
Anna Leese, Soprano: Leila Grant Doyle, Baritone: Zurga Jung Soo Yun, Tenor: Nadir Keel Watson, Bass: Nourabad |
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| Holland Park Theatre, London, Holland Park, London W8 6LU, United Kingdom Tuesday 9-Jul-13 07:30pm Tickets from £12 - £67.50 will be on sale from 25th April.Anna Leese, Soprano: Leila Grant Doyle, Baritone: Zurga Jung Soo Yun, Tenor: Nadir Keel Watson, Bass: Nourabad | ||
| Thursday 11-Jul-13 07:30pm |
Holland Park Theatre, London Les pêcheurs de perles Opera Holland Park |
Anna Leese, Soprano: Leila Grant Doyle, Baritone: Zurga Jung Soo Yun, Tenor: Nadir Keel Watson, Bass: Nourabad |
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| Holland Park Theatre, London, Holland Park, London W8 6LU, United Kingdom Thursday 11-Jul-13 07:30pm Tickets from £12 - £67.50 will be on sale from 25th April.Anna Leese, Soprano: Leila Grant Doyle, Baritone: Zurga Jung Soo Yun, Tenor: Nadir Keel Watson, Bass: Nourabad | ||
| Saturday 13-Jul-13 07:30pm |
Holland Park Theatre, London Les pêcheurs de perles Opera Holland Park |
Anna Leese, Soprano: Leila Grant Doyle, Baritone: Zurga Jung Soo Yun, Tenor: Nadir Keel Watson, Bass: Nourabad |
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| Holland Park Theatre, London, Holland Park, London W8 6LU, United Kingdom Saturday 13-Jul-13 07:30pm Tickets from £12 - £67.50 will be on sale from 25th April.Anna Leese, Soprano: Leila Grant Doyle, Baritone: Zurga Jung Soo Yun, Tenor: Nadir Keel Watson, Bass: Nourabad | ||
| Thursday 25-Jul-13 06:00pm |
Bayreuther Festspielhaus Der fliegende Holländer Bayreuth |
Christian Thielemann, Conductor Jan Philipp Gloger, Director Christoph Hetzer, Set Designer Franz-Josef Selig, Bass: Daland Ricarda Merbeth, Soprano: Senta Michael König, Tenor: Erik Christa Mayer, Contralto: Mary Benjamin Bruns, Tenor: The Steersman Samuel Youn, Bass-baritone: Dutchman |
| More info... | ||
| Bayreuther Festspielhaus, Festspielhügel 2, 95445 Bayreuth, Germany Thursday 25-Jul-13 06:00pm Christian Thielemann, Conductor Jan Philipp Gloger, Director Christoph Hetzer, Set Designer Franz-Josef Selig, Bass: Daland Ricarda Merbeth, Soprano: Senta Michael König, Tenor: Erik Christa Mayer, Contralto: Mary Benjamin Bruns, Tenor: The Steersman Samuel Youn, Bass-baritone: Dutchman | ||
| Wednesday 31-Jul-13 05:00pm |
National Theatre, Munich Parsifal Munich Opera Festival |
Bavarian State Opera Kent Nagano, Conductor Peter Konwitschny, Director Thomas Hampson, Baritone: Amfortas Diogenes Randes, Bass: Titurel Kwangchul Youn, Bass: Gurnemanz Christopher Ventris, Tenor: Parsifal Yevgeny Nikitin, Bass-baritone: Klingsor Petra Lang, Mezzo-soprano: Kundry Kevin Conners, Tenor: First knight of the Grail Tareq Nazmi, Bass: Second knight of the Grail |
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| National Theatre, Munich, Munich, Germany Wednesday 31-Jul-13 05:00pm SWho's afraid of the Bühnenweihfestspiel? Will Parsifal manage to bring the sacred spear back to the Knights of the Grail? Will he resist the blandishments of the primal sorceress "Kundry". Does salvation exist? Does compassion bring knowledge? Wagner's late work not as artificial religion – but rather as critical music theatre. Peter Konwitschny's production: admired, cheered and hotly controversial. A scandal? Well, judge for yourself.
Sung in German.Kent Nagano, Conductor Peter Konwitschny, Director Thomas Hampson, Baritone: Amfortas Diogenes Randes, Bass: Titurel Kwangchul Youn, Bass: Gurnemanz Christopher Ventris, Tenor: Parsifal Yevgeny Nikitin, Bass-baritone: Klingsor Petra Lang, Mezzo-soprano: Kundry Kevin Conners, Tenor: First knight of the Grail Tareq Nazmi, Bass: Second knight of the Grail | ||
| Saturday 3-Aug-13 06:00pm |
Bayreuther Festspielhaus Der fliegende Holländer Bayreuth |
Christian Thielemann, Conductor Jan Philipp Gloger, Director Christoph Hetzer, Set Designer Franz-Josef Selig, Bass: Daland Ricarda Merbeth, Soprano: Senta Michael König, Tenor: Erik Christa Mayer, Contralto: Mary Benjamin Bruns, Tenor: The Steersman Samuel Youn, Bass-baritone: Dutchman |
| More info... | ||
| Bayreuther Festspielhaus, Festspielhügel 2, 95445 Bayreuth, Germany Saturday 3-Aug-13 06:00pm Christian Thielemann, Conductor Jan Philipp Gloger, Director Christoph Hetzer, Set Designer Franz-Josef Selig, Bass: Daland Ricarda Merbeth, Soprano: Senta Michael König, Tenor: Erik Christa Mayer, Contralto: Mary Benjamin Bruns, Tenor: The Steersman Samuel Youn, Bass-baritone: Dutchman | ||
| Tuesday 6-Aug-13 06:00pm |
Bayreuther Festspielhaus Der fliegende Holländer Bayreuth |
Christian Thielemann, Conductor Jan Philipp Gloger, Director Christoph Hetzer, Set Designer Franz-Josef Selig, Bass: Daland Ricarda Merbeth, Soprano: Senta Michael König, Tenor: Erik Christa Mayer, Contralto: Mary Benjamin Bruns, Tenor: The Steersman Samuel Youn, Bass-baritone: Dutchman |
| More info... | ||
| Bayreuther Festspielhaus, Festspielhügel 2, 95445 Bayreuth, Germany Tuesday 6-Aug-13 06:00pm Christian Thielemann, Conductor Jan Philipp Gloger, Director Christoph Hetzer, Set Designer Franz-Josef Selig, Bass: Daland Ricarda Merbeth, Soprano: Senta Michael König, Tenor: Erik Christa Mayer, Contralto: Mary Benjamin Bruns, Tenor: The Steersman Samuel Youn, Bass-baritone: Dutchman | ||
| Tuesday 13-Aug-13 06:00pm |
Bayreuther Festspielhaus Der fliegende Holländer Bayreuth |
Christian Thielemann, Conductor Jan Philipp Gloger, Director Christoph Hetzer, Set Designer Franz-Josef Selig, Bass: Daland Ricarda Merbeth, Soprano: Senta Michael König, Tenor: Erik Christa Mayer, Contralto: Mary Benjamin Bruns, Tenor: The Steersman Samuel Youn, Bass-baritone: Dutchman |
| More info... | ||
| Bayreuther Festspielhaus, Festspielhügel 2, 95445 Bayreuth, Germany Tuesday 13-Aug-13 06:00pm Christian Thielemann, Conductor Jan Philipp Gloger, Director Christoph Hetzer, Set Designer Franz-Josef Selig, Bass: Daland Ricarda Merbeth, Soprano: Senta Michael König, Tenor: Erik Christa Mayer, Contralto: Mary Benjamin Bruns, Tenor: The Steersman Samuel Youn, Bass-baritone: Dutchman | ||
| Saturday 17-Aug-13 02:00pm |
Trinity Episcopal Church, Highland Park, IL The Burning Fiery Furnace, Britten Centennial; RSMI 25th Anniversary Ravinia Festival |
Musicians from the Chicago Symphony Orchestra James Conlon, Conductor Michael Ehrman, Director Nicholas Phan, Tenor: Nebuchadnezzar Philip Addis, Baritone: Astrologer Nathaniel Olson, Baritone: Ananias Alex Mansoori, Tenor: Misael Alan Dunbar, Baritone: Azarias Yohan Yi, Baritone: Herald |
.jpg "This link takes you to a booking page provided by the promoter of the event, either on their site or ours.") | ||
| Trinity Episcopal Church, Highland Park, IL, 425 Laurel Ave, Highland Park, 60035, United States Saturday 17-Aug-13 02:00pm The Burning Fiery Furnace, Britten Centennial; RSMI 25th Anniversary Tickets: $40 Musicians from the Chicago Symphony Orchestra James Conlon, Conductor Michael Ehrman, Director Nicholas Phan, Tenor: Nebuchadnezzar Philip Addis, Baritone: Astrologer Nathaniel Olson, Baritone: Ananias Alex Mansoori, Tenor: Misael Alan Dunbar, Baritone: Azarias Yohan Yi, Baritone: Herald | ||
| Saturday 17-Aug-13 08:00pm |
Trinity Episcopal Church, Highland Park, IL The Burning Fiery Furnace, Britten Centennial; RSMI 25th Anniversary Ravinia Festival |
Musicians from the Chicago Symphony Orchestra James Conlon, Conductor Michael Ehrman, Director Nicholas Phan, Tenor: Nebuchadnezzar Philip Addis, Baritone: Astrologer Nathaniel Olson, Baritone: Ananias Alex Mansoori, Tenor: Misael Alan Dunbar, Baritone: Azarias Yohan Yi, Baritone: Herald |
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| Trinity Episcopal Church, Highland Park, IL, 425 Laurel Ave, Highland Park, 60035, United States Saturday 17-Aug-13 08:00pm The Burning Fiery Furnace, Britten Centennial; RSMI 25th Anniversary Tickets: $40 Musicians from the Chicago Symphony Orchestra James Conlon, Conductor Michael Ehrman, Director Nicholas Phan, Tenor: Nebuchadnezzar Philip Addis, Baritone: Astrologer Nathaniel Olson, Baritone: Ananias Alex Mansoori, Tenor: Misael Alan Dunbar, Baritone: Azarias Yohan Yi, Baritone: Herald | ||
| Tuesday 20-Aug-13 06:00pm |
Bayreuther Festspielhaus Der fliegende Holländer Bayreuth |
Christian Thielemann, Conductor Jan Philipp Gloger, Director Christoph Hetzer, Set Designer Franz-Josef Selig, Bass: Daland Ricarda Merbeth, Soprano: Senta Michael König, Tenor: Erik Christa Mayer, Contralto: Mary Benjamin Bruns, Tenor: The Steersman Samuel Youn, Bass-baritone: Dutchman |
| More info... | ||
| Bayreuther Festspielhaus, Festspielhügel 2, 95445 Bayreuth, Germany Tuesday 20-Aug-13 06:00pm Christian Thielemann, Conductor Jan Philipp Gloger, Director Christoph Hetzer, Set Designer Franz-Josef Selig, Bass: Daland Ricarda Merbeth, Soprano: Senta Michael König, Tenor: Erik Christa Mayer, Contralto: Mary Benjamin Bruns, Tenor: The Steersman Samuel Youn, Bass-baritone: Dutchman | ||
| Saturday 24-Aug-13 06:00pm |
Bayreuther Festspielhaus Der fliegende Holländer Bayreuth |
Christian Thielemann, Conductor Jan Philipp Gloger, Director Christoph Hetzer, Set Designer Franz-Josef Selig, Bass: Daland Ricarda Merbeth, Soprano: Senta Michael König, Tenor: Erik Christa Mayer, Contralto: Mary Benjamin Bruns, Tenor: The Steersman Samuel Youn, Bass-baritone: Dutchman |
| More info... | ||
| Bayreuther Festspielhaus, Festspielhügel 2, 95445 Bayreuth, Germany Saturday 24-Aug-13 06:00pm Christian Thielemann, Conductor Jan Philipp Gloger, Director Christoph Hetzer, Set Designer Franz-Josef Selig, Bass: Daland Ricarda Merbeth, Soprano: Senta Michael König, Tenor: Erik Christa Mayer, Contralto: Mary Benjamin Bruns, Tenor: The Steersman Samuel Youn, Bass-baritone: Dutchman | ||
| Saturday 31-Aug-13 07:00pm |
St Clement, Chorlton, Manchester Roberto Devereux |
Opera Seria Eric Reddet, Tenor: Robert Devereux Rochelle Hart, Soprano: Elisabetta Victor Sgarbi, Baritone: Duca di Nottingham Benedetta Orsi, Mezzo-soprano: Sara, Duchessa di Nottingham Tom Morrs, Tenor: Lord Cecil Dmitry Yumashev, Baritone: Sir Gualtiero Raleigh Jonathan Ellis, Piano |
| More info... | ||
| St Clement, Chorlton, Manchester, 6 Edge Lane, Manchester M21 9JF, United Kingdom Saturday 31-Aug-13 07:00pm Roberto Devereux Eric Reddet, Tenor: Robert Devereux Rochelle Hart, Soprano: Elisabetta Victor Sgarbi, Baritone: Duca di Nottingham Benedetta Orsi, Mezzo-soprano: Sara, Duchessa di Nottingham Tom Morrs, Tenor: Lord Cecil Dmitry Yumashev, Baritone: Sir Gualtiero Raleigh Jonathan Ellis, Piano Price type: Low cost, half at £10 or less | ||
| Tuesday 10-Sep-13 07:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Tuesday 10-Sep-13 07:30pm Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Tuesday 17-Sep-13 07:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Tuesday 17-Sep-13 07:30pm Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Monday 23-Sep-13 07:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Monday 23-Sep-13 07:30pm Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Sunday 29-Sep-13 02:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Sunday 29-Sep-13 02:30pm Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Friday 4-Oct-13 07:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Friday 4-Oct-13 07:30pm Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Wednesday 9-Oct-13 07:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Wednesday 9-Oct-13 07:30pm Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Saturday 19-Oct-13 |
Teatro Massimo, Palermo Siegfried |
Teatro Massimo Pietari Inkinen, Conductor Graham Vick, Director Christian Voigt, Tenor: Siegfried Robert Brubaker, Tenor: Mime Samuel Youn, Bass-baritone: Wanderer Sergei Leiferkus, Baritone: Alberich Lise Lindstrom, Soprano: Brünnhilde Magne Fremmerlid, Bass: Fafner Ronnita Miller, Mezzo-soprano: Erda |
| More info... | ||
| Teatro Massimo, Palermo, 90138 Palermo, Italy Saturday 19-Oct-13 Pietari Inkinen, Conductor Graham Vick, Director Christian Voigt, Tenor: Siegfried Robert Brubaker, Tenor: Mime Samuel Youn, Bass-baritone: Wanderer Sergei Leiferkus, Baritone: Alberich Lise Lindstrom, Soprano: Brünnhilde Magne Fremmerlid, Bass: Fafner Ronnita Miller, Mezzo-soprano: Erda | ||
| Tuesday 22-Oct-13 |
Teatro Massimo, Palermo Siegfried |
Teatro Massimo Pietari Inkinen, Conductor Graham Vick, Director Christian Voigt, Tenor: Siegfried Robert Brubaker, Tenor: Mime Samuel Youn, Bass-baritone: Wanderer Sergei Leiferkus, Baritone: Alberich Lise Lindstrom, Soprano: Brünnhilde Magne Fremmerlid, Bass: Fafner Ronnita Miller, Mezzo-soprano: Erda |
| More info... | ||
| Teatro Massimo, Palermo, 90138 Palermo, Italy Tuesday 22-Oct-13 Pietari Inkinen, Conductor Graham Vick, Director Christian Voigt, Tenor: Siegfried Robert Brubaker, Tenor: Mime Samuel Youn, Bass-baritone: Wanderer Sergei Leiferkus, Baritone: Alberich Lise Lindstrom, Soprano: Brünnhilde Magne Fremmerlid, Bass: Fafner Ronnita Miller, Mezzo-soprano: Erda | ||
| Thursday 24-Oct-13 |
Teatro Massimo, Palermo Siegfried |
Teatro Massimo Pietari Inkinen, Conductor Graham Vick, Director Christian Voigt, Tenor: Siegfried Robert Brubaker, Tenor: Mime Samuel Youn, Bass-baritone: Wanderer Sergei Leiferkus, Baritone: Alberich Lise Lindstrom, Soprano: Brünnhilde Magne Fremmerlid, Bass: Fafner Ronnita Miller, Mezzo-soprano: Erda |
| More info... | ||
| Teatro Massimo, Palermo, 90138 Palermo, Italy Thursday 24-Oct-13 Pietari Inkinen, Conductor Graham Vick, Director Christian Voigt, Tenor: Siegfried Robert Brubaker, Tenor: Mime Samuel Youn, Bass-baritone: Wanderer Sergei Leiferkus, Baritone: Alberich Lise Lindstrom, Soprano: Brünnhilde Magne Fremmerlid, Bass: Fafner Ronnita Miller, Mezzo-soprano: Erda | ||
| Sunday 27-Oct-13 |
Teatro Massimo, Palermo Siegfried |
Teatro Massimo Pietari Inkinen, Conductor Graham Vick, Director Christian Voigt, Tenor: Siegfried Robert Brubaker, Tenor: Mime Samuel Youn, Bass-baritone: Wanderer Sergei Leiferkus, Baritone: Alberich Lise Lindstrom, Soprano: Brünnhilde Magne Fremmerlid, Bass: Fafner Ronnita Miller, Mezzo-soprano: Erda |
| More info... | ||
| Teatro Massimo, Palermo, 90138 Palermo, Italy Sunday 27-Oct-13 Pietari Inkinen, Conductor Graham Vick, Director Christian Voigt, Tenor: Siegfried Robert Brubaker, Tenor: Mime Samuel Youn, Bass-baritone: Wanderer Sergei Leiferkus, Baritone: Alberich Lise Lindstrom, Soprano: Brünnhilde Magne Fremmerlid, Bass: Fafner Ronnita Miller, Mezzo-soprano: Erda | ||
| Wednesday 30-Oct-13 |
Teatro Massimo, Palermo Siegfried |
Teatro Massimo Pietari Inkinen, Conductor Graham Vick, Director Christian Voigt, Tenor: Siegfried Robert Brubaker, Tenor: Mime Samuel Youn, Bass-baritone: Wanderer Sergei Leiferkus, Baritone: Alberich Lise Lindstrom, Soprano: Brünnhilde Magne Fremmerlid, Bass: Fafner Ronnita Miller, Mezzo-soprano: Erda |
| More info... | ||
| Teatro Massimo, Palermo, 90138 Palermo, Italy Wednesday 30-Oct-13 Pietari Inkinen, Conductor Graham Vick, Director Christian Voigt, Tenor: Siegfried Robert Brubaker, Tenor: Mime Samuel Youn, Bass-baritone: Wanderer Sergei Leiferkus, Baritone: Alberich Lise Lindstrom, Soprano: Brünnhilde Magne Fremmerlid, Bass: Fafner Ronnita Miller, Mezzo-soprano: Erda | ||
| Thursday 12-Dec-13 07:30pm |
Deutsche Oper, Berlin La Bohème |
Deutsche Oper Berlin Karel Mark Chichon, Conductor Götz Friedrich, Director Peter Sykora, Set Designer Svetlana Ignatovich, Soprano: Mimì Pretty Yende, Soprano: Musetta Wookyung Kim, Tenor: Rodolfo Étienne Dupuis, Baritone: Marcello Paul Kaufmann, Tenor: Parpignol John Chest, Baritone: Schaunard Jörg Schörner, Tenor: Benoît Marko Mimica, Bass: Colline |
-Bettina-Stöß.jpg "Image credit: Bettina-Stöß") | ||
| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Thursday 12-Dec-13 07:30pm In Italian with German surtitles.
Puccini had already proved his ability as a brilliant musical colourist with EDGAR (1889) and MANON LESCAUT, but it was only with LA BOHÈME that a perfect marriage of subject matter and musical interpretation was finally achieved: Claude Debussy enthusiastically commented, "no one has described the Paris of these days as aptly as Puccini in his LA BOHÈME". Puccini's impressionistic sound artistry combines subjective emotion with objective tone painting. His tonal elements, his musical descriptions of the ambience and the local colour of his aural tapestry begin to work their magic from the very first scene, when Rodolfo and Marcello set fire to their manuscript and the poet sprinkles drops of water on the face of the unconscious Mimi, and in the second scene, when the chorus, in its role as crowd, is contrasted with the stage orchestra as military parade, and also in the third scene, when economical use is made of carefully selected musical elements to create the atmosphere of a cold winter's morning. A frosty winter´s day in a Paris garret. Rodolfo, the writer, and Marcello, the painter, are trying to work. They are hungry and without fuel for heating or money to pay their rent. Colline, the philosopher has tried and failed to pawn some books. The musician Schaunard has been more fortunate; he arrives with food, firewood, cigarettes and money. Rodolfo wants to work and his friends depart for Café Momus. His work is interrupted by a neighbour, who is searching for a means to light her dwelling. While making her request she faints and loses the keys to her lodgings. So it is that Rodolfo falls in love with Mimi, the embroiderer who is hopelessly ill with tuberculosis. Two months later he deserts her, unable to look helplessly on while Mimi's illness worsens in his poor, cold hovel. Six months later Musetta, the former mistress of Marcello, brings back the dying Mimi. Musetta sacrifices her earrings for the purchase of medicine, Colline donates his coat. Mimi is grateful and happy. Rodolfo believes that she has fallen into a curative sleep, but Mimi is dead. From a dramaturgical viewpoint LA BOHÈME retains the strands of an experiment that has remained unique in Puccini's body of work. Libretto authors Ilica and Giacose formed a libretto out of a loose sequence of episodes from Louis Henri Murger's novel. Their artistic maxim consisted in preserving the protagonists and ambience of the novel while allowing a degree of flexibility in the selection and treatment of episodes. They structured their sourcebook into "quadri", images that are held together only by the love story between Rodolfo and Mimi. The relationship between Musetta and Marcello serves as counterpoint. "LA BOHÈME always addresses and challenges our innermost private feelings - intellectual snobs and frustrated, sniping critics should stay at home! I can only say from my personal point of view: I'm 30 years older now and I have an even stronger desire now to explore hope and despair, the dreams and pain of youth, and to reflect them on stage, in the form of images, action and sound. Coming to this work afresh reflects a kind of pining for one's own youth. I think this is the open secret of Puccini's LA BOHÈME, why it is still so vibrant and topical today." (Götz Friedrich in 1988) Image credit: Bettina-Stöß Karel Mark Chichon, Conductor Götz Friedrich, Director Peter Sykora, Set Designer Svetlana Ignatovich, Soprano: Mimì Pretty Yende, Soprano: Musetta Wookyung Kim, Tenor: Rodolfo Étienne Dupuis, Baritone: Marcello Paul Kaufmann, Tenor: Parpignol John Chest, Baritone: Schaunard Jörg Schörner, Tenor: Benoît Marko Mimica, Bass: Colline | ||
| Sunday 15-Dec-13 07:30pm |
Deutsche Oper, Berlin La Bohème |
Deutsche Oper Berlin Karel Mark Chichon, Conductor Götz Friedrich, Director Peter Sykora, Set Designer Svetlana Ignatovich, Soprano: Mimì Pretty Yende, Soprano: Musetta Wookyung Kim, Tenor: Rodolfo Étienne Dupuis, Baritone: Marcello Paul Kaufmann, Tenor: Parpignol John Chest, Baritone: Schaunard Jörg Schörner, Tenor: Benoît Marko Mimica, Bass: Colline |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Sunday 15-Dec-13 07:30pm In Italian with German surtitles.
Puccini had already proved his ability as a brilliant musical colourist with EDGAR (1889) and MANON LESCAUT, but it was only with LA BOHÈME that a perfect marriage of subject matter and musical interpretation was finally achieved: Claude Debussy enthusiastically commented, "no one has described the Paris of these days as aptly as Puccini in his LA BOHÈME". Puccini's impressionistic sound artistry combines subjective emotion with objective tone painting. His tonal elements, his musical descriptions of the ambience and the local colour of his aural tapestry begin to work their magic from the very first scene, when Rodolfo and Marcello set fire to their manuscript and the poet sprinkles drops of water on the face of the unconscious Mimi, and in the second scene, when the chorus, in its role as crowd, is contrasted with the stage orchestra as military parade, and also in the third scene, when economical use is made of carefully selected musical elements to create the atmosphere of a cold winter's morning. A frosty winter´s day in a Paris garret. Rodolfo, the writer, and Marcello, the painter, are trying to work. They are hungry and without fuel for heating or money to pay their rent. Colline, the philosopher has tried and failed to pawn some books. The musician Schaunard has been more fortunate; he arrives with food, firewood, cigarettes and money. Rodolfo wants to work and his friends depart for Café Momus. His work is interrupted by a neighbour, who is searching for a means to light her dwelling. While making her request she faints and loses the keys to her lodgings. So it is that Rodolfo falls in love with Mimi, the embroiderer who is hopelessly ill with tuberculosis. Two months later he deserts her, unable to look helplessly on while Mimi's illness worsens in his poor, cold hovel. Six months later Musetta, the former mistress of Marcello, brings back the dying Mimi. Musetta sacrifices her earrings for the purchase of medicine, Colline donates his coat. Mimi is grateful and happy. Rodolfo believes that she has fallen into a curative sleep, but Mimi is dead. From a dramaturgical viewpoint LA BOHÈME retains the strands of an experiment that has remained unique in Puccini's body of work. Libretto authors Ilica and Giacose formed a libretto out of a loose sequence of episodes from Louis Henri Murger's novel. Their artistic maxim consisted in preserving the protagonists and ambience of the novel while allowing a degree of flexibility in the selection and treatment of episodes. They structured their sourcebook into "quadri", images that are held together only by the love story between Rodolfo and Mimi. The relationship between Musetta and Marcello serves as counterpoint. "LA BOHÈME always addresses and challenges our innermost private feelings - intellectual snobs and frustrated, sniping critics should stay at home! I can only say from my personal point of view: I'm 30 years older now and I have an even stronger desire now to explore hope and despair, the dreams and pain of youth, and to reflect them on stage, in the form of images, action and sound. Coming to this work afresh reflects a kind of pining for one's own youth. I think this is the open secret of Puccini's LA BOHÈME, why it is still so vibrant and topical today." (Götz Friedrich in 1988) Image credit: Bettina-Stöß Karel Mark Chichon, Conductor Götz Friedrich, Director Peter Sykora, Set Designer Svetlana Ignatovich, Soprano: Mimì Pretty Yende, Soprano: Musetta Wookyung Kim, Tenor: Rodolfo Étienne Dupuis, Baritone: Marcello Paul Kaufmann, Tenor: Parpignol John Chest, Baritone: Schaunard Jörg Schörner, Tenor: Benoît Marko Mimica, Bass: Colline | ||
| Saturday 21-Dec-13 08:00pm |
Palais Opéra, Liège La Grande-Duchesse de Gerolstein |
Opéra Royal de Wallonie Cyril Englebert, Conductor Stefano Mazzonis di Pralafera, Director Jean-guy Lecat, Set Designer Alexise Yerna, Mezzo-soprano: La Grande-Duchesse de Gérolstein Sébastien Droy, Tenor: Fritz Lionel Lhote, Baritone: General Boum Sophie Junker, Soprano: Wanda Jean-Philippe Corre, Voice: Népomuc Giovanni Iovino, Tenor: Prince Paul Patrick Delcour, Bass: Baron Puck Roger Joakim, Baritone: Baron Grog Orchestre de l'Opéra Royal de Wallonie Choir of Opéra Royal de Wallonie |
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| Palais Opéra, Liège, Espace Bavière, Boulevard de la Constitution, 4020 Liège, Belgium Saturday 21-Dec-13 08:00pm New production of Opéra Royal de Wallonie-Liège.
Dans son superbe domaine ancestral, devenu une résidence hôtelière réputée, la Grande-Duchesse de Gérolstein dirige aussi une brigade de cuisine avec la même efficacité que ses ancêtres dirigeaient leurs régiments militaires à la guerre ! Désireuse d’encore faire gravir à son restaurant les échelons de la renommée, elle l’a fait inscrire dans le plus grand concours culinaire de la télévision : La Guerre des chefs ! L’affaire semble bien engagée car son équipe va débuter les épreuves finales quand… la Grande-Duchesse, emportée par son amour des hommes va être tentée par les charmes de ceux qui gravitent autour d’elle, ce qui va dès lors provoquer une cascade de rebondissements doublée d’une véritable révolution au sein de son hôtellerie! Cyril Englebert, Conductor Stefano Mazzonis di Pralafera, Director Jean-guy Lecat, Set Designer Alexise Yerna, Mezzo-soprano: La Grande-Duchesse de Gérolstein Sébastien Droy, Tenor: Fritz Lionel Lhote, Baritone: General Boum Sophie Junker, Soprano: Wanda Jean-Philippe Corre, Voice: Népomuc Giovanni Iovino, Tenor: Prince Paul Patrick Delcour, Bass: Baron Puck Roger Joakim, Baritone: Baron Grog Orchestre de l'Opéra Royal de Wallonie Choir of Opéra Royal de Wallonie | ||
| Saturday 28-Dec-13 07:30pm |
Deutsche Oper, Berlin La Bohème |
Deutsche Oper Berlin Karel Mark Chichon, Conductor Götz Friedrich, Director Peter Sykora, Set Designer Svetlana Ignatovich, Soprano: Mimì Pretty Yende, Soprano: Musetta Wookyung Kim, Tenor: Rodolfo Étienne Dupuis, Baritone: Marcello Paul Kaufmann, Tenor: Parpignol John Chest, Baritone: Schaunard Jörg Schörner, Tenor: Benoît Marko Mimica, Bass: Colline |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Saturday 28-Dec-13 07:30pm In Italian with German surtitles.
Puccini had already proved his ability as a brilliant musical colourist with EDGAR (1889) and MANON LESCAUT, but it was only with LA BOHÈME that a perfect marriage of subject matter and musical interpretation was finally achieved: Claude Debussy enthusiastically commented, "no one has described the Paris of these days as aptly as Puccini in his LA BOHÈME". Puccini's impressionistic sound artistry combines subjective emotion with objective tone painting. His tonal elements, his musical descriptions of the ambience and the local colour of his aural tapestry begin to work their magic from the very first scene, when Rodolfo and Marcello set fire to their manuscript and the poet sprinkles drops of water on the face of the unconscious Mimi, and in the second scene, when the chorus, in its role as crowd, is contrasted with the stage orchestra as military parade, and also in the third scene, when economical use is made of carefully selected musical elements to create the atmosphere of a cold winter's morning. A frosty winter´s day in a Paris garret. Rodolfo, the writer, and Marcello, the painter, are trying to work. They are hungry and without fuel for heating or money to pay their rent. Colline, the philosopher has tried and failed to pawn some books. The musician Schaunard has been more fortunate; he arrives with food, firewood, cigarettes and money. Rodolfo wants to work and his friends depart for Café Momus. His work is interrupted by a neighbour, who is searching for a means to light her dwelling. While making her request she faints and loses the keys to her lodgings. So it is that Rodolfo falls in love with Mimi, the embroiderer who is hopelessly ill with tuberculosis. Two months later he deserts her, unable to look helplessly on while Mimi's illness worsens in his poor, cold hovel. Six months later Musetta, the former mistress of Marcello, brings back the dying Mimi. Musetta sacrifices her earrings for the purchase of medicine, Colline donates his coat. Mimi is grateful and happy. Rodolfo believes that she has fallen into a curative sleep, but Mimi is dead. From a dramaturgical viewpoint LA BOHÈME retains the strands of an experiment that has remained unique in Puccini's body of work. Libretto authors Ilica and Giacose formed a libretto out of a loose sequence of episodes from Louis Henri Murger's novel. Their artistic maxim consisted in preserving the protagonists and ambience of the novel while allowing a degree of flexibility in the selection and treatment of episodes. They structured their sourcebook into "quadri", images that are held together only by the love story between Rodolfo and Mimi. The relationship between Musetta and Marcello serves as counterpoint. "LA BOHÈME always addresses and challenges our innermost private feelings - intellectual snobs and frustrated, sniping critics should stay at home! I can only say from my personal point of view: I'm 30 years older now and I have an even stronger desire now to explore hope and despair, the dreams and pain of youth, and to reflect them on stage, in the form of images, action and sound. Coming to this work afresh reflects a kind of pining for one's own youth. I think this is the open secret of Puccini's LA BOHÈME, why it is still so vibrant and topical today." (Götz Friedrich in 1988) Image credit: Bettina-Stöß Karel Mark Chichon, Conductor Götz Friedrich, Director Peter Sykora, Set Designer Svetlana Ignatovich, Soprano: Mimì Pretty Yende, Soprano: Musetta Wookyung Kim, Tenor: Rodolfo Étienne Dupuis, Baritone: Marcello Paul Kaufmann, Tenor: Parpignol John Chest, Baritone: Schaunard Jörg Schörner, Tenor: Benoît Marko Mimica, Bass: Colline | ||
| Saturday 28-Dec-13 08:00pm |
Palais Opéra, Liège La Grande-Duchesse de Gerolstein |
Opéra Royal de Wallonie Cyril Englebert, Conductor Stefano Mazzonis di Pralafera, Director Jean-guy Lecat, Set Designer Alexise Yerna, Mezzo-soprano: La Grande-Duchesse de Gérolstein Sébastien Droy, Tenor: Fritz Lionel Lhote, Baritone: General Boum Sophie Junker, Soprano: Wanda Jean-Philippe Corre, Voice: Népomuc Giovanni Iovino, Tenor: Prince Paul Patrick Delcour, Bass: Baron Puck Roger Joakim, Baritone: Baron Grog Orchestre de l'Opéra Royal de Wallonie Choir of Opéra Royal de Wallonie |
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| Palais Opéra, Liège, Espace Bavière, Boulevard de la Constitution, 4020 Liège, Belgium Saturday 28-Dec-13 08:00pm New production of Opéra Royal de Wallonie-Liège.
Dans son superbe domaine ancestral, devenu une résidence hôtelière réputée, la Grande-Duchesse de Gérolstein dirige aussi une brigade de cuisine avec la même efficacité que ses ancêtres dirigeaient leurs régiments militaires à la guerre ! Désireuse d’encore faire gravir à son restaurant les échelons de la renommée, elle l’a fait inscrire dans le plus grand concours culinaire de la télévision : La Guerre des chefs ! L’affaire semble bien engagée car son équipe va débuter les épreuves finales quand… la Grande-Duchesse, emportée par son amour des hommes va être tentée par les charmes de ceux qui gravitent autour d’elle, ce qui va dès lors provoquer une cascade de rebondissements doublée d’une véritable révolution au sein de son hôtellerie! Cyril Englebert, Conductor Stefano Mazzonis di Pralafera, Director Jean-guy Lecat, Set Designer Alexise Yerna, Mezzo-soprano: La Grande-Duchesse de Gérolstein Sébastien Droy, Tenor: Fritz Lionel Lhote, Baritone: General Boum Sophie Junker, Soprano: Wanda Jean-Philippe Corre, Voice: Népomuc Giovanni Iovino, Tenor: Prince Paul Patrick Delcour, Bass: Baron Puck Roger Joakim, Baritone: Baron Grog Orchestre de l'Opéra Royal de Wallonie Choir of Opéra Royal de Wallonie | ||
| Tuesday 31-Dec-13 07:30pm |
Deutsche Oper, Berlin La Bohème |
Deutsche Oper Berlin Karel Mark Chichon, Conductor Götz Friedrich, Director Peter Sykora, Set Designer Svetlana Ignatovich, Soprano: Mimì Pretty Yende, Soprano: Musetta Wookyung Kim, Tenor: Rodolfo Étienne Dupuis, Baritone: Marcello Paul Kaufmann, Tenor: Parpignol John Chest, Baritone: Schaunard Jörg Schörner, Tenor: Benoît Marko Mimica, Bass: Colline |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Tuesday 31-Dec-13 07:30pm In Italian with German surtitles.
Puccini had already proved his ability as a brilliant musical colourist with EDGAR (1889) and MANON LESCAUT, but it was only with LA BOHÈME that a perfect marriage of subject matter and musical interpretation was finally achieved: Claude Debussy enthusiastically commented, "no one has described the Paris of these days as aptly as Puccini in his LA BOHÈME". Puccini's impressionistic sound artistry combines subjective emotion with objective tone painting. His tonal elements, his musical descriptions of the ambience and the local colour of his aural tapestry begin to work their magic from the very first scene, when Rodolfo and Marcello set fire to their manuscript and the poet sprinkles drops of water on the face of the unconscious Mimi, and in the second scene, when the chorus, in its role as crowd, is contrasted with the stage orchestra as military parade, and also in the third scene, when economical use is made of carefully selected musical elements to create the atmosphere of a cold winter's morning. A frosty winter´s day in a Paris garret. Rodolfo, the writer, and Marcello, the painter, are trying to work. They are hungry and without fuel for heating or money to pay their rent. Colline, the philosopher has tried and failed to pawn some books. The musician Schaunard has been more fortunate; he arrives with food, firewood, cigarettes and money. Rodolfo wants to work and his friends depart for Café Momus. His work is interrupted by a neighbour, who is searching for a means to light her dwelling. While making her request she faints and loses the keys to her lodgings. So it is that Rodolfo falls in love with Mimi, the embroiderer who is hopelessly ill with tuberculosis. Two months later he deserts her, unable to look helplessly on while Mimi's illness worsens in his poor, cold hovel. Six months later Musetta, the former mistress of Marcello, brings back the dying Mimi. Musetta sacrifices her earrings for the purchase of medicine, Colline donates his coat. Mimi is grateful and happy. Rodolfo believes that she has fallen into a curative sleep, but Mimi is dead. From a dramaturgical viewpoint LA BOHÈME retains the strands of an experiment that has remained unique in Puccini's body of work. Libretto authors Ilica and Giacose formed a libretto out of a loose sequence of episodes from Louis Henri Murger's novel. Their artistic maxim consisted in preserving the protagonists and ambience of the novel while allowing a degree of flexibility in the selection and treatment of episodes. They structured their sourcebook into "quadri", images that are held together only by the love story between Rodolfo and Mimi. The relationship between Musetta and Marcello serves as counterpoint. "LA BOHÈME always addresses and challenges our innermost private feelings - intellectual snobs and frustrated, sniping critics should stay at home! I can only say from my personal point of view: I'm 30 years older now and I have an even stronger desire now to explore hope and despair, the dreams and pain of youth, and to reflect them on stage, in the form of images, action and sound. Coming to this work afresh reflects a kind of pining for one's own youth. I think this is the open secret of Puccini's LA BOHÈME, why it is still so vibrant and topical today." (Götz Friedrich in 1988) Image credit: Bettina-Stöß Karel Mark Chichon, Conductor Götz Friedrich, Director Peter Sykora, Set Designer Svetlana Ignatovich, Soprano: Mimì Pretty Yende, Soprano: Musetta Wookyung Kim, Tenor: Rodolfo Étienne Dupuis, Baritone: Marcello Paul Kaufmann, Tenor: Parpignol John Chest, Baritone: Schaunard Jörg Schörner, Tenor: Benoît Marko Mimica, Bass: Colline | ||
| Friday 17-Jan-14 07:30pm |
National Theatre, Munich Der fliegende Holländer |
Bavarian State Opera Gabriel Feltz, Conductor Peter Konwitschny, Director Johannes Leiacker, Set Designer Anja Kampe, Soprano: Senta Michael König, Tenor: Erik Yevgeny Nikitin, Bass-baritone: Dutchman Kwangchul Youn, Bass: Daland Okka von der Damerau, Mezzo-soprano: Mary Kevin Conners, Tenor: The Steersman |
 Wilfried Hösl.jpg "Image credit: © Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Friday 17-Jan-14 07:30pm Every seven years the Dutchman is allowed back on land. There this tepest-tossed creature can only be redeemed by a woman, Otherwise his endless odyssey continues. Will Senta be that woman? After all, she longs to break free from the confining world of her father. All he ever thinks about is money. Isn't the wealthy Dutchman just what the doctor ordered? Wagner's gripping early work: a psycho-thriller of operatic literature. Peter Konwitschny has already provoked audiences to delight and disgust with his spectacular Parsifal and Tristan und Isolde productions. This Munich Holländer is something you just "have" to see. A sea and see journey on the waves of the orchestra.
In German with German surtitles Image credit: © Wilfried Hösl Gabriel Feltz, Conductor Peter Konwitschny, Director Johannes Leiacker, Set Designer Anja Kampe, Soprano: Senta Michael König, Tenor: Erik Yevgeny Nikitin, Bass-baritone: Dutchman Kwangchul Youn, Bass: Daland Okka von der Damerau, Mezzo-soprano: Mary Kevin Conners, Tenor: The Steersman | ||
| Monday 20-Jan-14 07:00pm |
National Theatre, Munich Der fliegende Holländer |
Bavarian State Opera Gabriel Feltz, Conductor Peter Konwitschny, Director Johannes Leiacker, Set Designer Anja Kampe, Soprano: Senta Michael König, Tenor: Erik Yevgeny Nikitin, Bass-baritone: Dutchman Kwangchul Youn, Bass: Daland Okka von der Damerau, Mezzo-soprano: Mary Kevin Conners, Tenor: The Steersman |
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| National Theatre, Munich, Munich, Germany Monday 20-Jan-14 07:00pm Every seven years the Dutchman is allowed back on land. There this tepest-tossed creature can only be redeemed by a woman, Otherwise his endless odyssey continues. Will Senta be that woman? After all, she longs to break free from the confining world of her father. All he ever thinks about is money. Isn't the wealthy Dutchman just what the doctor ordered? Wagner's gripping early work: a psycho-thriller of operatic literature. Peter Konwitschny has already provoked audiences to delight and disgust with his spectacular Parsifal and Tristan und Isolde productions. This Munich Holländer is something you just "have" to see. A sea and see journey on the waves of the orchestra.
In German with German surtitles Image credit: © Wilfried Hösl Gabriel Feltz, Conductor Peter Konwitschny, Director Johannes Leiacker, Set Designer Anja Kampe, Soprano: Senta Michael König, Tenor: Erik Yevgeny Nikitin, Bass-baritone: Dutchman Kwangchul Youn, Bass: Daland Okka von der Damerau, Mezzo-soprano: Mary Kevin Conners, Tenor: The Steersman | ||
| Thursday 23-Jan-14 07:30pm |
National Theatre, Munich Der fliegende Holländer |
Bavarian State Opera Gabriel Feltz, Conductor Peter Konwitschny, Director Johannes Leiacker, Set Designer Anja Kampe, Soprano: Senta Michael König, Tenor: Erik Yevgeny Nikitin, Bass-baritone: Dutchman Kwangchul Youn, Bass: Daland Okka von der Damerau, Mezzo-soprano: Mary Kevin Conners, Tenor: The Steersman |
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| National Theatre, Munich, Munich, Germany Thursday 23-Jan-14 07:30pm Every seven years the Dutchman is allowed back on land. There this tepest-tossed creature can only be redeemed by a woman, Otherwise his endless odyssey continues. Will Senta be that woman? After all, she longs to break free from the confining world of her father. All he ever thinks about is money. Isn't the wealthy Dutchman just what the doctor ordered? Wagner's gripping early work: a psycho-thriller of operatic literature. Peter Konwitschny has already provoked audiences to delight and disgust with his spectacular Parsifal and Tristan und Isolde productions. This Munich Holländer is something you just "have" to see. A sea and see journey on the waves of the orchestra.
In German with German surtitles Image credit: © Wilfried Hösl Gabriel Feltz, Conductor Peter Konwitschny, Director Johannes Leiacker, Set Designer Anja Kampe, Soprano: Senta Michael König, Tenor: Erik Yevgeny Nikitin, Bass-baritone: Dutchman Kwangchul Youn, Bass: Daland Okka von der Damerau, Mezzo-soprano: Mary Kevin Conners, Tenor: The Steersman | ||
| Sunday 23-Feb-14 06:00pm |
Deutsche Oper, Berlin The Damnation of Faust |
Deutsche Oper Berlin Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès |
-Uwe-Arens.jpg "Image credit: Uwe Arens") | ||
| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Sunday 23-Feb-14 06:00pm In French language with German surtitles.
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz' musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers' songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous. And this complexity is also a reflection of the title character himself. The world of Berlioz' Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck is one of the top choreographers of the younger generation. In recent years he has left his imprint as house choreographer at the Stuttgart Ballet and has been Director of Ballet at the Zurich Opera since 2012. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz' DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut. Image credit: Uwe Arens Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès | ||
| Thursday 27-Feb-14 07:00pm |
Deutsche Oper, Berlin The Damnation of Faust |
Deutsche Oper Berlin Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Thursday 27-Feb-14 07:00pm In French language with German surtitles.
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz' musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers' songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous. And this complexity is also a reflection of the title character himself. The world of Berlioz' Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck is one of the top choreographers of the younger generation. In recent years he has left his imprint as house choreographer at the Stuttgart Ballet and has been Director of Ballet at the Zurich Opera since 2012. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz' DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut. Image credit: Uwe Arens Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès | ||
| Wednesday 5-Mar-14 07:30pm |
Deutsche Oper, Berlin The Damnation of Faust |
Deutsche Oper Berlin Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Wednesday 5-Mar-14 07:30pm In French language with German surtitles.
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz' musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers' songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous. And this complexity is also a reflection of the title character himself. The world of Berlioz' Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck is one of the top choreographers of the younger generation. In recent years he has left his imprint as house choreographer at the Stuttgart Ballet and has been Director of Ballet at the Zurich Opera since 2012. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz' DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut. Image credit: Uwe Arens Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès | ||
| Saturday 8-Mar-14 07:30pm |
Deutsche Oper, Berlin The Damnation of Faust |
Deutsche Oper Berlin Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Saturday 8-Mar-14 07:30pm In French language with German surtitles.
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz' musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers' songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous. And this complexity is also a reflection of the title character himself. The world of Berlioz' Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck is one of the top choreographers of the younger generation. In recent years he has left his imprint as house choreographer at the Stuttgart Ballet and has been Director of Ballet at the Zurich Opera since 2012. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz' DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut. Image credit: Uwe Arens Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès | ||
| Thursday 20-Mar-14 07:00pm |
Deutsche Oper, Berlin Don Giovanni |
Deutsche Oper Berlin Friedemann Layer, Conductor Roland Schwab, Director Piero Vinciguerra, Set Designer Sonya Yoncheva, Soprano: Donna Anna Jana Kurucová, Mezzo-soprano: Donna Elvira Martina Welschenbach, Mezzo-soprano: Zerlina Adam Plachetka, Bass-baritone: Don Giovanni Matthew Rose, Bass: Leporello Joel Prieto, Tenor: Don Ottavio Seth Carico, Bass-baritone: Masetto Tobias Kehrer, Bass: The Commendatore |
-Marcus-Lieberenz.jpg "Image credit: Marcus Lieberenz") | ||
| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Thursday 20-Mar-14 07:00pm In Italian language with German surtitles.
“Where have you gotten the deranged rights to which you've dedicated your life?”, asks George Sand of the legendary figure. He casually confides in Gottfried Benn: “I once had the dream that a young birch tree gave me the gift of a son.” No other fictional character of modern times has had more public attention than Don Juan, that “seducer of Seville”, who emerged in 1613 from the pen of a Spanish monk. Only seven years younger than his compatriot Don Quixote, since that time he has made his way through dramas, epics, novels and operas, and eerily wandered over cinema screens and plasma monitors. Against the backdrop of different moral attitudes he brags – monuments and icons – of his famous tricks, pitted against death which he casts as a stone shadow. “Mine will be hell!”, Lord Byron heard him say. On 29 October 1787, conducted by the composer, the overture to a dramma giocoso about the race with death of DON GIOVANNI begins with a piercing chord in the Graf Nostitz National Theatre in Prague. In retrospect, in the history of music theatre, this moment can be likened to the big bang. In order to set the mood for placing himself in the role of the unbridled libertine and blasphemer, the librettist Lorenzo da Ponte had to repeatedly flirt with the daughter of his landlady. Mozart himself, who had achieved success with his FIGARO one year before, composes under enormous pressure of time for a fee of 1000 guilders. The overture is completed only by 7 p.m. on the evening of the first performance. Søren Kierkegaard sees a “bolt of lightning” that “makes its own way from the darkness of the storm cloud, more unsettled than this and yet just as steady in time. Hear the emotion of unbridled desire, hear the rustle of love, hear the murmur of temptation, hear the turmoil of seduction, hear the moment of stillness – hear, hear, hear Mozart's DON GIOVANNI!” The descent into hell to which the archetype of moral abjection was condemned until now is seen in terms of his soul. For his demise, the entire metaphysics of the west is called into play. But this not only confirms the indignation of the persons wronged, it also elicits dismay. At the threshold of the French revolution, the freedom that the libertine extols against the decree of humility characterises him as the very prototype of anarchy. His unbridled manner, peeled from a life designed from hormonal dictates, reflects the compulsive longings and self-realisation fantasies of generations to follow. The 19th century will reveal his close relation to the figure of Faust, melancholically leaving him to the realm of psychoanalysis. Julia Kristeva finds in him the “son of a mother who becomes a dreamer with her husband and passes this on to her child that he may conquer all women as no one ever before”. Albert Camus finds it improbable that he could experience sadness. As with the “laughing, the victorious impudence, the erratic”, the profoundly mundane that the French philosopher diagnoses in him, can in fact be deceiving! – The restless figure ponders with D. H. Lawrence: “Where is there peace for me? The mystery must fall in love with me …” What drives the seducer through the bedrooms of the centuries? What haunts the hunter? Who is this man really, who always means only? Image credit: Marcus Lieberenz Friedemann Layer, Conductor Roland Schwab, Director Piero Vinciguerra, Set Designer Sonya Yoncheva, Soprano: Donna Anna Jana Kurucová, Mezzo-soprano: Donna Elvira Martina Welschenbach, Mezzo-soprano: Zerlina Adam Plachetka, Bass-baritone: Don Giovanni Matthew Rose, Bass: Leporello Joel Prieto, Tenor: Don Ottavio Seth Carico, Bass-baritone: Masetto Tobias Kehrer, Bass: The Commendatore | ||
| Saturday 29-Mar-14 07:00pm |
Deutsche Oper, Berlin Don Giovanni |
Deutsche Oper Berlin Friedemann Layer, Conductor Roland Schwab, Director Piero Vinciguerra, Set Designer Sonya Yoncheva, Soprano: Donna Anna Jana Kurucová, Mezzo-soprano: Donna Elvira Martina Welschenbach, Mezzo-soprano: Zerlina Adam Plachetka, Bass-baritone: Don Giovanni Matthew Rose, Bass: Leporello Joel Prieto, Tenor: Don Ottavio Seth Carico, Bass-baritone: Masetto Tobias Kehrer, Bass: The Commendatore |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Saturday 29-Mar-14 07:00pm In Italian language with German surtitles.
“Where have you gotten the deranged rights to which you've dedicated your life?”, asks George Sand of the legendary figure. He casually confides in Gottfried Benn: “I once had the dream that a young birch tree gave me the gift of a son.” No other fictional character of modern times has had more public attention than Don Juan, that “seducer of Seville”, who emerged in 1613 from the pen of a Spanish monk. Only seven years younger than his compatriot Don Quixote, since that time he has made his way through dramas, epics, novels and operas, and eerily wandered over cinema screens and plasma monitors. Against the backdrop of different moral attitudes he brags – monuments and icons – of his famous tricks, pitted against death which he casts as a stone shadow. “Mine will be hell!”, Lord Byron heard him say. On 29 October 1787, conducted by the composer, the overture to a dramma giocoso about the race with death of DON GIOVANNI begins with a piercing chord in the Graf Nostitz National Theatre in Prague. In retrospect, in the history of music theatre, this moment can be likened to the big bang. In order to set the mood for placing himself in the role of the unbridled libertine and blasphemer, the librettist Lorenzo da Ponte had to repeatedly flirt with the daughter of his landlady. Mozart himself, who had achieved success with his FIGARO one year before, composes under enormous pressure of time for a fee of 1000 guilders. The overture is completed only by 7 p.m. on the evening of the first performance. Søren Kierkegaard sees a “bolt of lightning” that “makes its own way from the darkness of the storm cloud, more unsettled than this and yet just as steady in time. Hear the emotion of unbridled desire, hear the rustle of love, hear the murmur of temptation, hear the turmoil of seduction, hear the moment of stillness – hear, hear, hear Mozart's DON GIOVANNI!” The descent into hell to which the archetype of moral abjection was condemned until now is seen in terms of his soul. For his demise, the entire metaphysics of the west is called into play. But this not only confirms the indignation of the persons wronged, it also elicits dismay. At the threshold of the French revolution, the freedom that the libertine extols against the decree of humility characterises him as the very prototype of anarchy. His unbridled manner, peeled from a life designed from hormonal dictates, reflects the compulsive longings and self-realisation fantasies of generations to follow. The 19th century will reveal his close relation to the figure of Faust, melancholically leaving him to the realm of psychoanalysis. Julia Kristeva finds in him the “son of a mother who becomes a dreamer with her husband and passes this on to her child that he may conquer all women as no one ever before”. Albert Camus finds it improbable that he could experience sadness. As with the “laughing, the victorious impudence, the erratic”, the profoundly mundane that the French philosopher diagnoses in him, can in fact be deceiving! – The restless figure ponders with D. H. Lawrence: “Where is there peace for me? The mystery must fall in love with me …” What drives the seducer through the bedrooms of the centuries? What haunts the hunter? Who is this man really, who always means only? Image credit: Marcus Lieberenz Friedemann Layer, Conductor Roland Schwab, Director Piero Vinciguerra, Set Designer Sonya Yoncheva, Soprano: Donna Anna Jana Kurucová, Mezzo-soprano: Donna Elvira Martina Welschenbach, Mezzo-soprano: Zerlina Adam Plachetka, Bass-baritone: Don Giovanni Matthew Rose, Bass: Leporello Joel Prieto, Tenor: Don Ottavio Seth Carico, Bass-baritone: Masetto Tobias Kehrer, Bass: The Commendatore | ||
| Friday 4-Apr-14 07:00pm |
Deutsche Oper, Berlin Don Giovanni |
Deutsche Oper Berlin Friedemann Layer, Conductor Roland Schwab, Director Piero Vinciguerra, Set Designer Sonya Yoncheva, Soprano: Donna Anna Jana Kurucová, Mezzo-soprano: Donna Elvira Martina Welschenbach, Mezzo-soprano: Zerlina Adam Plachetka, Bass-baritone: Don Giovanni Matthew Rose, Bass: Leporello Joel Prieto, Tenor: Don Ottavio Seth Carico, Bass-baritone: Masetto Albert Pesendorfer, Bass: The Commendatore |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Friday 4-Apr-14 07:00pm In Italian language with German surtitles.
“Where have you gotten the deranged rights to which you've dedicated your life?”, asks George Sand of the legendary figure. He casually confides in Gottfried Benn: “I once had the dream that a young birch tree gave me the gift of a son.” No other fictional character of modern times has had more public attention than Don Juan, that “seducer of Seville”, who emerged in 1613 from the pen of a Spanish monk. Only seven years younger than his compatriot Don Quixote, since that time he has made his way through dramas, epics, novels and operas, and eerily wandered over cinema screens and plasma monitors. Against the backdrop of different moral attitudes he brags – monuments and icons – of his famous tricks, pitted against death which he casts as a stone shadow. “Mine will be hell!”, Lord Byron heard him say. On 29 October 1787, conducted by the composer, the overture to a dramma giocoso about the race with death of DON GIOVANNI begins with a piercing chord in the Graf Nostitz National Theatre in Prague. In retrospect, in the history of music theatre, this moment can be likened to the big bang. In order to set the mood for placing himself in the role of the unbridled libertine and blasphemer, the librettist Lorenzo da Ponte had to repeatedly flirt with the daughter of his landlady. Mozart himself, who had achieved success with his FIGARO one year before, composes under enormous pressure of time for a fee of 1000 guilders. The overture is completed only by 7 p.m. on the evening of the first performance. Søren Kierkegaard sees a “bolt of lightning” that “makes its own way from the darkness of the storm cloud, more unsettled than this and yet just as steady in time. Hear the emotion of unbridled desire, hear the rustle of love, hear the murmur of temptation, hear the turmoil of seduction, hear the moment of stillness – hear, hear, hear Mozart's DON GIOVANNI!” The descent into hell to which the archetype of moral abjection was condemned until now is seen in terms of his soul. For his demise, the entire metaphysics of the west is called into play. But this not only confirms the indignation of the persons wronged, it also elicits dismay. At the threshold of the French revolution, the freedom that the libertine extols against the decree of humility characterises him as the very prototype of anarchy. His unbridled manner, peeled from a life designed from hormonal dictates, reflects the compulsive longings and self-realisation fantasies of generations to follow. The 19th century will reveal his close relation to the figure of Faust, melancholically leaving him to the realm of psychoanalysis. Julia Kristeva finds in him the “son of a mother who becomes a dreamer with her husband and passes this on to her child that he may conquer all women as no one ever before”. Albert Camus finds it improbable that he could experience sadness. As with the “laughing, the victorious impudence, the erratic”, the profoundly mundane that the French philosopher diagnoses in him, can in fact be deceiving! – The restless figure ponders with D. H. Lawrence: “Where is there peace for me? The mystery must fall in love with me …” What drives the seducer through the bedrooms of the centuries? What haunts the hunter? Who is this man really, who always means only? Image credit: Marcus Lieberenz Friedemann Layer, Conductor Roland Schwab, Director Piero Vinciguerra, Set Designer Sonya Yoncheva, Soprano: Donna Anna Jana Kurucová, Mezzo-soprano: Donna Elvira Martina Welschenbach, Mezzo-soprano: Zerlina Adam Plachetka, Bass-baritone: Don Giovanni Matthew Rose, Bass: Leporello Joel Prieto, Tenor: Don Ottavio Seth Carico, Bass-baritone: Masetto Albert Pesendorfer, Bass: The Commendatore | ||
| Tuesday 15-Apr-14 07:00pm |
National Theatre, Munich La Traviata |
Bavarian State Opera Paolo Carignani, Conductor Günter Krämer, Director Andreas Reinhardt, Set Designer Sonya Yoncheva, Soprano: Violetta Valéry Silvia Hauer, Mezzo-soprano: Annina Heike Grötzinger, Mezzo-soprano: Flora Bervoix Rolando Villazón, Tenor: Alfredo Germont Francesco Petrozzi, Tenor: Gaston Tareq Nazmi, Bass: Marquis d'Obigny Leo Nucci, Baritone: Giorgio Germont Christian Rieger, Bass: Baron Douphol Christoph Stephinger, Bass: Dr Grenville |
 Wilfried Hösl.jpg "Image credit: © Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Tuesday 15-Apr-14 07:00pm Men don't fall in love with courtesans! That's the opinion of Alfredo's father after his son moves in with the mortally ill Violetta Valéry. In her love for Alfredo Violetta even agrees. She leaves him, dies poor, ill – still dreaming of the happiness of true love. One of Verdi's most beloved operas continues to hold the mirror up to society and its hypocritical morality. An exemplary production! See it!
In Italian with German surtitles Image credit: © Wilfried Hösl Paolo Carignani, Conductor Günter Krämer, Director Andreas Reinhardt, Set Designer Sonya Yoncheva, Soprano: Violetta Valéry Silvia Hauer, Mezzo-soprano: Annina Heike Grötzinger, Mezzo-soprano: Flora Bervoix Rolando Villazón, Tenor: Alfredo Germont Francesco Petrozzi, Tenor: Gaston Tareq Nazmi, Bass: Marquis d'Obigny Leo Nucci, Baritone: Giorgio Germont Christian Rieger, Bass: Baron Douphol Christoph Stephinger, Bass: Dr Grenville | ||
| Wednesday 16-Apr-14 05:00pm |
National Theatre, Munich Parsifal |
Bavarian State Opera Asher Fisch, Conductor Peter Konwitschny, Director Johannes Leiacker, Set Designer Angela Denoke, Soprano: Kundry Nikolai Schukoff, Tenor: Parsifal Levente Molnár, Baritone: Amfortas Oleg Bryjak, Bass: Klingsor Kwangchul Youn, Bass: Gurnemanz Christoph Stephinger, Bass: Titurel |
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| National Theatre, Munich, Munich, Germany Wednesday 16-Apr-14 05:00pm Who's afraid of the Bühnenweihfestspiel? Will Parsifal manage to bring the sacred spear back to the Knights of the Grail? Will he resist the blandishments of the primal sorceress "Kundry". Does salvation exist? Does compassion bring knowledge? Wagner's late work not as artificial religion – but rather as critical music theatre. Peter Konwitschny's production: admired, cheered and hotly controversial. A scandal? Well, judge for yourself.
In German Asher Fisch, Conductor Peter Konwitschny, Director Johannes Leiacker, Set Designer Angela Denoke, Soprano: Kundry Nikolai Schukoff, Tenor: Parsifal Levente Molnár, Baritone: Amfortas Oleg Bryjak, Bass: Klingsor Kwangchul Youn, Bass: Gurnemanz Christoph Stephinger, Bass: Titurel | ||
