Monday 14 August 2017

A final farewell

Some of you might already know it, some may have expected it and for a few it might be a surprise, but the latest review of Shostakovich's Lady Macbeth in Salzburg was the final and last one of its kind. Due to a more or less sudden career change earlier this year I decided to shut down this blog and so (as some of you may have realised) there were less reviews over the last few months. This is because I only reviewed some final shows where I received press tickets and did not review any other shows anymore. I undertook some final trips to different places and the festival season in Munich and Salzburg is the finale of a project that lasted for more than 3 years and was definitely way more succesful than I thought.
I want to thank everyone who spent time reading my reviews and interviews, all artists who were ready to give a young journalist a chance for some really interesting interviews and all the press offices who were so open to collaborate with me over the years including the big houses in Berlin, Vienna, Munich and the great festivals all over Austria and Germany.
It was my pleasure to see so many great productions and performances over the last 3 years and get to know so many interesting people. However I realised that there are so many people now who are blogging about opera and it would take much more time to keep up the level of quality. It seems that nowadays everyone thinks that he can review an opera performance no matter if they actually have the necessary knowledge.
Another reason, as mentioned, is my new job as an artist manager in an agency in Munich. I believe that it is not good to work as a reviewer at the same time and therefor the blog had to end. Nevertheless I am very happy about my new job because I have the chance to use my distinct knowledge about singing and the human voice to support talented singers and their careers.
So this is the end, once again I want to thank all of you for your support.
All the best to everyone of you,


Sunday 13 August 2017

Dmitri Shostakovich, Lady Macbeth of the Mtensk District - Salzburger Festspiele, Großes Festspielhaus

Performance 10th August

For my very last review on this blog I went to see a wonderful production of an opera that might not be known to everybody. Shostakovich wrote his Lady Macbeth when he was barely 25 and created an interesting highly explicit piece of musical porn. The music is a wild mix of different styles and very often I had the feeling that Puccini was a big influence, but on the other hand there are also wild and grotesque parts that show Shostakovich's crazy side. I was positively surprised by the piece and I have to say that is a very exciting opera that should be performed way more often.
The production by Andreas Kriegenburg is really impressive and shows an almost veristic approach. All the relations between the different characters were worked out so clearly that it was almost like watching a movie. Kriegenburg was able to keep the level of excitement very high throughout the evening. Only the final death of Katerina seemed a bit over the top and predictable. I especially liked the stage by Harald B. Thor with that huge working class residential buildings that created a thoroughly depressing atmosphere. The smart idea to have rooms coming out from those buildings worked very well and helped to deliver the story. The costumes by Tanja Hofmann also helped to support the plot and the different characters. Especially the great difference between the working class and Katerina (and her old family).
Musically there were no wishes to be left under the baton of Mariss Jansons. He knows the score perfectly well and conducted a more or less flawless performance with the Wiener Philharmoniker. That is why th several interludes were definitely some great musical highlight. Also the Konzertvereinigung Wiener Staatsopernchor gave a brilliant performance with great passion and lovely playfulness.
Most of the many small roles were cast very well and showed the high level of the performance. I especially want to mention Ksenia Dudnikova's dark soft mezzo / alto voice which suited her role very well. Also Stanislav Trofimov as Pope gave a wonderful performance with his drunk acting and a strong imperious voice.
Maxim Paster also convinced as absolutely drunk and wimpy Sinowi. I do not know if he did it on purpose but his tenor voice also gave a very unstable impression which suited the role very well. If this was part of his interpretation it really worked out.
As his father Boris we heard Dmitry Ulyanov who also gave a strong performance with a balanced powerful bass voice and an exciting interpretation. He made such a despicable impression that everyone would have killed him probably.
Tenor Brandon Jovanovich was an incredible Sergei with passion, power, a balanced voice and great acting. I can barely imagine the role to be sung any better and he definitely earned his applause for his highly laddish acting.
Due to the illness of Nina Stemme we had Evgenia Muraveva jumping in and singing the title role instead of the small role of Aksinya. I was really keen to hear Nina Stemme, but I have to say that Miss Muraveva probably did a better job with a beautiful strong soprano voice that is definitely more flexible than Stemme's voice. Muraveva gave a brilliant performance and really kept the excitement on a very high level throughout her performance. What a chance for this singer and maybe we will hear more of her in the future.
Alltogether it really was an exciting performance and another great success for the new director of the Salzburg festival. I would give 9 stars to Lady Macbeth in Salzburg.
Reviewed by Daniel Url

Tuesday 1 August 2017

Richard Wagner, Lohengrin - Tiroler Festspiele Erl

Performance 29th July

Another final visit, another final review from the little village Erl with the famous Festival. Erl has also been a regular station on my several trips and so I visited the final performance of this festival. As usual the production was led by Gustav Kuhn himself and was rather simple, plain and focused more on the music than on intensive direction. The stage by Jan Hax Halama also only featured a few little details and mainly involved the staircase that goes down into the stage and several platforms for the choir. The costumes by Lenka Radecky also were some sort of historical and futuristic, but looked very elegant. Especially the two female protagonists looked stunning.
Of course also the musical lead was in the hands of Gustav Kuhn who conducted with a lot of experience which sometimes seemed a bit unexciting. Nevertheless he and the Orchester der Tiroler Festspiele Erl did a good job supporting the singers and gave a solid pleasing performance. I also want to mention the Chorakademie which sounded lovely and really powerful.
Michael Kupfer-Radecky was a luxurious Heerrufer with a strong and slender baritone of a very warm and heroic timbre. He gave a great performance and it would have been nice to hear more of him.
Pavel Kudinov sang a very imperious and profound King Heinrich with a sonorous bass voice. Except of some top notes he gave a really wonderful performance and showed a very understanding portrayal. Especially during the first act he simply gave a lovely performance.
As Telramund we heard Michael Mrosek who seemed a bit troubled by the role. Often he had to shorten notes and the top parts of the role definitely brought him to his limits. He seemed more like a parody than actually really intimidating which is not really helpful for that role.
His wife Ortrud was sung by Mona Somm who seemed not to be in best shape too. I know Somm's powerful instrument quite well after her Brünnhilde and her Isolde, but this evening she did not absolutely convince me. Despite her roaring top notes she did not really show the same strenght in the lower register and simply seemed not totally comfortable with the role. I guess Ortrud simply needs a mezzo with good top and not a dramatic soprano.
Joo Anne Bitter as Elsa is best described as probably the best Elsa I ever heard. Her light but rich soprano voice sounds beautiful and controlled throughout her whole range and she perfectly sang the role without any problematic moments. From her first notes to the very last ones she just gave a marvelous performance and despite her singing also looked beautiful with her long flowing blonde hair. BRAVA!
Johannes Chum on the other hand was a more than problematic Lohengrin. He has a very odd timbre and his diction makes me question the language he is singing in. Consonants were barely recognisable and also the vowels sounded pretty much the same most of the time. As if this was not enough he also had to fight for the whole last act and basically had to scream the last 20 minutes in order to get through the performance. I guess the role is just out of his league.
Alltogether it was still a lovely performance and I did not regret the trip. The Lohengrin in Erl gets 7 stars.
✰- - -
Reviewed by Daniel Url

Friday 28 July 2017

Gaetano Donizetti, La Favorite - Bayerische Staatsoper, Nationaltheater

Performance 26th July

Time flies and suddenly the day for my final review in Munich came. After three years of ravishing performances here I chose an opera that I have not seen live yet for my final review. Donizetti's La Favorite is one of those rare operas that features a mezzo as main protagonist. Most people only know the great scene "O mon Fernand", but the mezzo part also features high b-flats and an optional (but usually done) high c in the first duet.
The production by Amelie Niermeyer is dark and cold as usual. If it had been a concert version there would not have been much of a difference. Despite the moving panels of the stage (Alexander Müller-Elmau) there was not much going on at any moment. Even the highly dramatic finali of act 2 and 3 were utterly boring and it seemed that Niermeyer had no idea what to make out of it. The costumes (Kirsten Dephoff) looked pretty, but did not really convey any meaning or support the plot in any way.
At least the musical part of the evening was on a very high level. Karel Mark Chichon conducted the Bayerisches Staatsorchester with a great sense for Donizetti's melodies and with marvelous dramatic drive in the ensemble scenes. He brought the very french sound of the score to life and did not fail to deliver the drama that the production could not create. The orchestra played very well with brilliant elegance and fierce excitement. The Chor der Bayerischen Staatsoper seemed a bit unbalanced that evening and especially during their entrance scene they seemed to have some timing issues.
Elsa Benoit was a wonderful Inès with a magnificent bright soprano voice that showed great flexibility and a lovely clear upper register. Joshua Owen Mills also has a very clear bright voice with a piercing timbre. He gave a solid performance as slimy Don Gaspard.
Mika Kares showed his strong profound bass voice in the role of Balthazar and sang the role passionately and with raw venerability. His interpretation could have been a bit more differentiated, but alltogether he gave a fine performance.
As Alphonse XI we heard Mariusz Kwiecień who did a great job in that role. His imperious flexible baritone voice suited the character very well and also acting-wise he showed great enthusiasm for the role.
Matthew Polenzani sang the role of Fernand with great passion with his rather light, but sustainable tenor voice. He gave us some beautiful high notes and a wonderful balance of soft intimate moments and dramatic outbursts. I thought that he could have been a bit more elegant, but anyway he did a good job.
Last but not least, the role of Léonor was sung by star mezzo Elīna Garanča who definitely was the star of the evening. Her lush dark voice combines beauty of tone, power and a marvelous sense for phrasing.Without any problems she tackled the many high parts of the role and convinced with a very emotional passionate portrayal.
Alltogether it was a solid performance with some very nice moments (at least musically) and therefor I give 8 stars to Munich's La Favorite.
 - -
Reviewed by Daniel Url

Thursday 27 July 2017

Carl Maria von Weber, Oberon - Bayerische Staatsoper, Prinzregententheater

Performance 24th July

The finale premiere of this season in Munich is a real rarity that rarely finds its way into the repertoire. Weber's Oberon is not as popular as his Freischütz which might be because of its rather dull story and the unelegant libretto. The plot seems like a strange mix of Mozart's Entführung, his Zauberflöte and other influences. Operas like this can barely be approached in a serious way without becoming unbareably cheesy. However, the team around Nikolaus Habjahn created a wonderful production with an impressive level of entertainment. The point of the production was to create a frame story and to simply not take the story serious at all. By exaggerations the plot became highly ironic and fit perfectly into the created frame story of an experiment. I have to admit that I do not know when I had so much fun at an opera the last time. There were so many funny moments and the audience was genuinely entertained by the several interesting ideas. I also thought the the costumes (Denise Heschl) and the stage (Jakob Brossmann) looked very elegant and gave a lovely fairytale-like impression. Especially the many little panels that came from all around the stage to support the plot. Another highly interesting detail was the use of those puppets that were played by the three Pucks. It was really impressive how well the actors were able to deliver different characters with those puppets.
The musical part of the evening was under the control of Ivor Bolton who gave a solid performance. I thought that the balance in the score could have been better most of the time and the light classiness of Weber's music was missing too. However, the Bayerisches Staatsorchester played well with a few little inaccuracies. Especially the natural horns were rather problematic, but alltogether the performance was fine on a good level. I especially want to mention the Extrachor der Bayerischen Staatsoper which sang wonderfully during the choir scenes.
Of the soloists I want to mention the three Pucks (Manuela Linshalm, Daniel Frantisek Kamen, Sebastian Mock) because they were responsible for many funny moments and helped to keep the ecxitement on a high level throughout the performance.
Anna El-Kashem had a very short but beautiful scene as Meermädchen. She sang the beautiful scene with a lovely and genuinely beautiful soprano voice that is definitely worth more than such a small appearance. Alyona Abramowa showed her dark warm mezzo voice, but definitely needs to work on her diction which tended to be rather problematic (especially during the few dialogues she had to deliver).
Julian Prégardien was a wonderful Oberon with a lovely youthful and elegant tenor voice. His noble timbre suited the role perfectly well and only his acting could have been a bit more convincing alltogether.
As Fatime we heard Rachael Wilson with her slender focused mezzo soprano. She gave a beautiful portrayal of the role with passion and lighthearted acting skills. I especially liked her aria in the final act, the following duet with Scherasmin and the Terzett with both guys where Wilson showed her vocal skills exceptionally well.
Johannes Kammler as Scherasmin also was a performance to remember. His light baritone voice suited the character very well and he sang the role with elegance and charm. But not only musically he knew how to catch the audience, also his acting skills were very good and he gave a wonderful performance.
Brenden Gunnell as Hüon von Bordeaux also did a good job even though he sometimes seemed a bit uncomfortable with the highly demanding part. The many runs and the rather high tessitura pushed him to his limits, but alltogether he gave a good performance.
Anette Dasch as Rezia seemed to have the same problem. While having a very beautiful strong and dark soprano voice, her top always gave a rather pushed impression. Surely the part calls for a more flexible kind of voice, but Dasch used her striking stage presence to make up for vocal deficits. In the end she probably gave the best overall impression with her marvelous diva-like behaviour (which was part of the production, obviously).
As mentioned before, I really had a great time and much fun during the performance. Certainly the piece and the production are not perfect, but it is a wonderful example of good entertainment. Therefor I give 9 stars to the absolutely hilarious Oberon in Munich.
Reviewed by Daniel Url

Friday 7 July 2017

Richard Strauss, Die Frau ohne Schatten - Bayerische Staatsoper, Nationaltheater

Performance 5th July

After years of intensive occupation with this marvelous work it seems obvious that I had to revisit the production in Munich this summer. Being my 4th production of FroSch this year I have a lot to compare. However, I already saw this production in Munich twice and there definitely are better ones. Compared to Die Gezeichneten Krysztof Warlikowski at least tells the story in a straight and more or less clear way, but the many connotations and odd pictures stay. While there is a lot going on all the time during this production it still fails very often to get to the core of the story. One could say that Warlikowski operates with some sort of diffuse conventionalism which creates some interesting pictures, but finally ends up rather random.
Kirill Petrenko led the musical part of the evening and was celebrated like a god. He certainly shows the greatest musical rendition of that piece I ever heard, but compared to earlier performances (2013 and 2014) some parts seemed a bit sloppy everynow and then. No really great issues, but several smaller moments when the accuracy could have been better. Nevertheless the Bayerisches Staatsorchester certainly gave a brilliant performance under the baton of its celebrated marvelous music director.
Most of the small parts were cast really well like the luxurious presence of Okka von der Damerau as voice from above or the guard trio (Johannes Kammler, Sean Michael Plumb and Milan Siljanov). Elsa Benoit was a great falcon and guard of the treshold with a beautiful and flexible soprano voice. Dean Power convinced not only as one of the three brothers, but also as fresh youngling with his youthful sonorous tenor voice.
Michaela Schuster once again (after Berlin) as the Nurse gave a solid performance again. Her voice tends to have a rather edgy sound and it is definitely not one of the most balanced voices, but she performs the part very smartly and gave a thrilling performance with her acting skills.
Burkhard Fritz (after Berlin AND Leipzig) once again showed that the role of the Emperor suits him well. He is absolutely reliable with power, delicacy and a good understanding of the role with all its difficulties. He seemed in better shape than in Leipzig lately and gave a flawless performance that evening.
Wolfgang Koch was also singing Barak in Berlin too and is one of the leading singers for that role as well. Except of some minor dangerous moments he did a great job with his flexible warm baritone voice and he seemed very playful during this performance.
As Färberin we heard Elena Pankratova (who lately jumped in at Oper Leipzig with that role) and she gave a marvelous performance even though she seemed not as fierce as usual. I had the feeling that she was a bit more careful that night, but still threw out one thrilling high note after another. Her warm and soft voice is also powerful and she definitely has a deep understanding of the character of the Dyer's Wife.
The title role of the Empress was sung by Riccarda Merbeth who sang the role for over a decade now. However she still sings it with intensity and a beautiful ringing upper register. I am not really a fan of her voice, but she undoubtedly sings the role with great security and no fear of any high notes.
Alltogether it was a lovely night and therefor I can give 9 stars to the revival of Die Frau ohne Schatten in Munich.
Reviewed by Daniel Url

Thursday 6 July 2017

Franz Schreker, Die Gezeichneten - Bayerische Staatsoper, Nationaltheater

Performance 4th July

Marking my last summer as reviewer and my last reviews in Munich I started this year's Munich Opera Festival with a marvelous rarity, a work so captivating that I do not understand why it is not part of the normal repertoire. Franz Schreker's Die Gezeichneten is an opera that clearly marks some competition for Strauss and in fact Schreker was more often performed than Strauss during his lifetime. Unfortunately the horrors of the Nazi regime ended his success and his works were forgotten.
The Bayerische Staatsoper now revives this great opera in a production by Krysztof Warlikowski who is know for his collage style and his highly psychological productions. As usual it ended up as a diarrhoea of connotations, odd film scenes and a lot of stuff that keeps the audience from actually thinking about the philosophical questions of the piece. The opera, being quite complicated already, ended up being even less understandable and many people probably had no clue what was going on. The stage was designed by Małgorzata Szczęśniak who is usually working with Warlikowski. The staging reminded me of any other production they made (Die Frau ohne Schatten in Munich, Parsifal in Paris...) and stroke me as nothing new at all. The costumes also could have been from any other of their productions. Knowing the great production of Nikolaus Lehnhoff (Salzburg 2005) the one in Munich was rather disappointing.
Musically it was not as striking as one would expect at the Bayerische Staatsoper as well. Ingo Metzmacher, making his house debut, seems like a smart choice, but I expected more. His tempi sometimes seemed rather odd and unfortunately he was not able to make the music flow appropriately. Most of the time he and the Bayerisches Staatsorchester seemed so busy to simply perform the score that the soul of the music was lost. The lack of elegance and the sheer fluidity of Schreker's themes led to raw brutality and almost chaotic moments. The oddest moment of the evening was the finale when the opera simply ended on a random chord instead of the actual climatic flare of the final bars. These final few bars were simply cut away which is a thing that I seriously do not understand at all.
Most small roles (and there are many of those in this opera) were cast appropriately and were performed nicely. Of the smaller roles I definitely want to mention three people: Alastair Miles as Lodovico Nardi, Dean Power as Pietro and Heike Grötzinger as Martuccia. Miles has a great bass voice that sometimes reminded me of the great Kurt Moll. Dean Power, as usual, gave a lovely performance with his youthful beautiful tenor voice and Heike Grötzinger, another treasure of the ensemble, sang a very dramatic and thrilling maid.
Tomasz Konieczny sang the role of the Count Adorno and was definitely one of the leading performers of the evening. His baritone combines a virile sonorous timbre with great flexibility and intensive power.
Christopher Maltman's baritone voice was a lovely contrast to the rather bright tone of Konieczny with his warm and elegant timbre. Maltman did not only sing his part really wonderfully, he also acted in a nice convincing way and simply gave a wonderful performance.
As Carlotta we heard Catherine Naglestad who gave a solid performance with her meanwhile rather dramatic voice. She sang the role very passionately, but she is definitely not the right choice for this role. While her lower register has a really odd and weak timbre she lacks the bright tone and the crucial lightness which is really important for this role.
The creator of the mysterious island "Elysium", Alviano Salvago, was sung by John Daszak who clearly reached his limits with this role. However I thought that this suits the role very well and I really liked his performance very much. His tenor voice still has a very pleasing timbre and his interpretation was not as caricatural as in many other performances. I especially liked the intensity of his reading scene before act 3.
Alltogether it was absolutely magnificent to hear this wonderful piece of music even though the performance was not really on the level I originally expected it to be. At least many other theatres are staging their productions of the opera now as well and finally people have the chance to see this great opera. The performance in Munich gets 7 stars.
✰- - -
Reviewed by Daniel Url

Wednesday 21 June 2017

Richard Strauss, Die Frau ohne Schatten - Oper Leipzig

Performance 18th June

As final part of my marathon (day 5 and opera 6) I revisited a production of my all time favorite opera and probably the most glorious pieve ever written: Strauss' Die Frau ohne Schatten. Being the subject of my Master thesis I simply could not resist to get back to see the Leipzig production which I already saw quite exactly three years ago when it premiered. So it is quite a matter of destiny that after more than 3 1/2 years of regular visits and reviews from Leipzig I would end my final trip as a reviewer here with my favorite opera.
The production by Balasz Kovalik is quite interesting even though it tends to be irrepressibly cheesy with its Sissi aesthetics. The idea itself seems to be not to bad if you know the piece well enough, but sometimes Kovalik's direction simply ends up being too theatrical. On the other hand I have to give him credit for some moments that really created some intense atmosphere and filled the story with life. Especially because of the flamboyant stage and costumes by Heike Scheele which were really impressive and absolutely marvelous to watch.
Musically it was definitely the most pleasing one of the three evenings. Maestro Ulf Schirmer and the Gewandhausorchester played wonderfully with intense passion and captivating power. Thanks to the fact that this score is already so thick that loudness is definitely not a problem most of the time Schirmer's tendency for loud performances was not a problem this time. Also the powerful voices of most of the protagonists prevented the covering by the orchestra. Due to the difficulty of the score I can imagine that Schirmer and the orchestra saved their energy for this performance to make it a really exciting treat.
The many different smaller roles were solidly cast and supported the story very well. I definitely want to mention Patrick Vogel as the voice of the younling with a beautiful youthful tenor voice and Magdalena Hinterdobler as ravishing guard of the treshold. Tuomas Pursio seemed more comfortable with the role of the spirit messenger than as Jochanaan the night before. I still am not really a fan of his raw top register, but he gave a solid performance.
Karin Lovelius really surprised me in the role of the Nurse, Her voice might not be perfect for the role, but she managed it rather well. She smartly avoided difficulties with a very intelligent and highly expressive interpretation. The range of the role definitely took her to her limits, but she did a good job delivering the character.
Franz Grundheber as Barak also was a positive surprise. It is really incredible in what good shape his voice still is (being almost 80). He managed the part without any issues and also showed a very smart interpretation. I really have to say that he can still sing the role better than most other baritones who are much younger. Grundheber was able to convince with his singing which reflected great experience in this repertoire.
Burkhard Fritz, as usual, was a very reliable Emperor with easy high notes and a tenor voice that carries easily through the auditorium. He is probably the leading singer for this role at the moment and probably also the only one who can convince in it as a whole. Especially his scene during act is simply exciting and impressive.
Due to the fact that Jennifer Wilson was sick we had the pleasure to witness a jump-in of a very interesting sort. While someone from the production was acting on stage we had Elena Pankratova singing the role of the Dyer's Wife from the side of the stage. She also is one of the leading performers in that role and convinces with the sheer power and evenness of her timbre. She can through out the demanding top notes of that nagging role without any problems and definitely impressed the audience with her performance.
Nevertheless, the most impressive part of the evening was Simone Schneider as Empress. I have to say that I have never heard anyone sing this role on such a high level. Schneider's voice is absolutely unique and combines unbelievably even transitions with power and sheer beauty of tone. From almost mezzo-like registers to gleaming top notes (including the feared high d) that convince with that silvery Straussian tone she knows how to deliver the drama of the character through her singing. Her performance was undoubtedly the most amazin Strauss singing I have heard for a long time and I cannot imagine this role being sung better by anyone at the moment. BRAVA!!!!
Alltogether it was a glorious end of the Strauss weekend and I can definitely give 9 stars to this amazing Frau ohne Schatten performance.
Reviewed by Daniel Url

Sunday 18 June 2017

Richard Strauss, Salome - Oper Leipzig

Premiere Performance 17th June

Day 4 of my marathon featured the premiere of Strauss' Salome in Leipzig, a work that I have supervised myself once. Knowing the piece quite well I might be very picky as well, but the performance in Leipzig was definitely no disappointment.
The production by Aron Stiehl is featuring the usual ideas that come with that piece, but does not really bring something new to the piece. Many things have already been done by other houses and there are definitely more differentiated productions. The stage and costumes by the artist rosalie (who sadly passed away recently) helped Stiehl's interpretation very much with the impressive setting and the extravagant costumes. The futuristic palace and its surrounding had some great details that supported the plot very well. I especially liked the extensive use of the staircases which created an interesting atmosphere.
Musically I was a bit disappointed by Ulf Schirmer that evening, because apart of the usual loudness of the orchestra I missed the diversity of colours and themes that are featured in this masterful score. Some parts of it seemed too unbalanced and the lack of clarity sometimes clouded the overall impression of the Gewandhausorchester. Once again the loudness also interfered with the musical lines so that the dramatic flow was disturbed by the sheer power of the orchestra. Sometimes less is more...
Most of the small roles were cast solidly with appropriate voices. The quintet of the jews could have been a bit more balanced, but everything worked out quite well anyway. Sandra Maxheimer gave a good performance as Page with a very youthful and soft mezzo voice. Sergei Pisarev as Narraboth was definitely one of the highlights of the evening. His beautiful bright and youthful tenor voice suited the role perfectly and he sang it with lovely passion and devotion. Quite a pity that he dies so early in the plot.
Karin Lovelius as Herodias also sang her role without any issues, but did not really seem to be absolutely comfortable with the role. Her outbreaks sometimes gave the impression that she was too busy doing everything the right way.
As her husband Herodes we heard Michael Weinius who was a bit disappointing in my opinion. Probably just because I was expecting more of him. His heroic tenor voice seemed not flexible enough at certain moments and like Lovelius he just gave the impression that this is not really his type of role.
Tuomas Pursio as Jochanaan also turned out to be rather problematic. While his baritone voice is easily heard through the orchestra, it tends to sound rather shaky at the top which leads to unreliable intonation. The pushed upper register also prevents proper phrasing and therefor I was not really pleased with his performance unfortunately.
The most awaited part of the performance was Elisabet Strid's debut in the title role. After her Siegfried Brünnhilde Salome seems to be a rather smart choice for a role, but ultimately she had to fight quite hard against Schirmer and his wall of sound. She managed the role without any problems, but I personally think that her voice is not flexible and agile enough for this role which calls for a very certain kind of voice. Surely, she did have all of the notes, but it simply did not go as easy as it should and so I was not as enchanted as I expected. Nevertheless she did a good job and definitely celebrated a great success.
After the pretty loud Arabella the night before I think that Salome could have been a bit more sophisticated. In the end it was a pleasing night that had no great issues, but also no real surprises or exceptional performances. Therefor 8 stars seem to be appropriate for a high level performance that could have been better.
Reviewed by Daniel Url

Richard Strauss, Arabella - Oper Leipzig

Performance 16th June

Everyone who reads my blog knows that Leipzig has always been a regular destination for me due to the intensive Strauss and Wagner programming here and also because of their casting choices. After almost 3 1/2 years I am happy that it is also part of my last big trip as reviewer visiting the Strauss weekend with three Strauss operas in a row starting with his lyrical comedy, Arabella.
The production by Jan Schmidt-Garre combines elegance and plain simplicity. The focus of his works is bringing out the relations and emotions of the different characters which works out really well. The puzzle-like stage (Heike Scheele) is changing almost constantly and creates an insecure undecisive atmosphere which suits the story perfectly. I especially liked the elegant and beautiful costumes by Thomas Kaiser which gave the evening some noble radiance.
Ulf Schirmer conducted the performance and showed a clean score full of details. He knows the music very well, but unfortunately he has this utterly annoying tendency to let the orchestra be too loud. That caused some problems that evening and left some singers almost unheard. The Gewandhausorchester, though playing the score really wonderfully, simply covered the singers most of the times when they should rather be in the background. Certain moments like the love duet in act 2 (Und du wirst mein Gebieter) simply cannot unfold their magic when the music is too loud which was the case for most of the evening.
Most of the small roles were cast very well with a great spectrum of voices. Paul McNamara, Jürgen Kurth and Sejong Chang convinced as the three elegant and jealous Counts Elemer, Dominik and Lamoral. Katja Pieweck gave a solid performance during her short scene as Kartenaufschlägerin and Diana Tomsche enchanted the audience as stratospheric Fiakermilli.
Jan-Hendrik Rooterin as Waldner was unfortunately rather weak and had serious issues to be heard at all. He played the role very convincing, but it was really hard to hear him, especially when someone else was singing too. Same is valid for Renate Behle as Adelaide. Some notes were breaking through the orchestra without problems, but much of her singing did not succeed to do so.
As Matteo we heard Markus Francke who gave a solid performance with a youthful bright tenor voice. He was very convincing in his role and showed great acting talent as well as a deep understanding of the character. His top could sound easier everynow and then, but alltogether he gave a pleasing performance.
Olena Tokar also sang the role of Zdenka with great passion and devotion. Her full and strong soprano easily soars over the orchestra and has a beautiful timbre. She gave a lovely performance even though I was hoping for more light clarity in her timbre which is quite important for Strauss roles like this one. If her top notes only had this special Straussian silvery tone she would be a perfect cast.
Thomas J. Mayer is an experienced Mandryka who knows the tricky parts of the role and knows how get through it without problems. He is probably one of the leading singers for this part at the moment and it was a pleasure to hear him in it again. His strong and warm baritone voice has the necessary power and stamina to fight the wall of sound that Schirmer sends from the orchestra pit and he is really convincing as Mandryka.
Last, but not least, the role of Arabella was sung by Betsy Horne who has a wonderful full-bodied voice that combines a beautiful timbre with the flexibility and ability to fill the Straussian parlando style with life. I think her voice has the perfect colour for this role, but she has to work on her top which strikes me rather unreliable. There is a distinct break between middle and upper register which needs a more even transition so that she can let the top notes float with more ease.
Alltogether it was a solid performance with some lovely moments. If only the loudness did not affect the overall impression that much... 8 stars.
Reviewed by Daniel Url

Richard Wagner, Der Ring des Nibelungen - Siegfried - Staatstheater Nürnberg

Performance 15th June

As final big trip as reviewer I decided to take the possibility to travel to some of the cities I visited regularly during the last years, but also one last new one. For the first day of my 5 day opera marathon (including 6 opera performances and a panel discussion) I made a stop in the Bavarian city of Nuremberg (Nürnberg) to see their production of Wagner's Siegfried.
The production by Georg Schmidleitner shows an intensive knowledge of the plot and brings a very entertaining, but also sophisticated irony into the evening. Many little ironical details create an interesting fraction between the pathos of Wagner's story and the light-hearted irony of Schmiedleitner's direction. It might not please everyone and may seem offensive and disrespectful to some people, but I thought that it showed a great mind behind the production. The stage by Stefan Brandtmayr also showed some really interesting ideas and especially the second act with the moving street and the decayed surroundings created an intense and exciting atmosphere. Alfred Mayerhofer designed the rather simple and common costumes which supported the story quite well too.
The musical lead of Marcus Bosch was surprisingly strong and he led the Staatsphilharmonie Nürnberg with great understanding of the score. The orchestra did a great job following his lead and played a very clear and accurate rendition of the score. I have to admit that I have never heard the final bars of the first act finale (which are really a challenge for every orchestra) being played so clear and well balanced before. Unfortunately Bosch and the orchestra also tended to be way too loud for much of the whole performance and so very often the structure of the music got lost in the sheer display of power.
Ina Yoshikawa as Waldvöglein gave a solid performance with light lyric soprano voice that could have had a bit more of a clear timbre and more lightness in her phrasing. Nicolai Karnolsky as Fafner was equipped with a microphone to create reverb which made his performance a bit more complicated. For this role I would wish for a more profound and darker bass voice.
As Erda we heard Judith Schmid who has the right timbre for this role. Her creamy mysterious alto voice could be more flexible sometimes and her top was a it shaky, but apart of that she gave a pleasing performance during her scene in act 3.
Martin Winkler sang a very good Alberich with his raw dark voice which suited the character very well. If his diction were a bit clearer he could have been even better, but as I said, he did a great job anyway.
Hans Kittelmann as Mime gave an exceptional performance with a wide spectrum of colours and an excellent understanding of the text. He changed the colour of his voice so intensively depending on the words he sang that he gave a whole new dimension to the role. His light tenor voice might not be the most impressive one, but he showed great intelligence with his interpretation.
The role of Wanderer was sung by Antonio Yang who also filled the role with life and sang it with great passion. His noble baritone voice suited the role wonderfully and apart of some little text mistakes he gave a flawless performance. Of course he might have difficulties in bigger houses, but in that house he definitely gave a marvelous performance.
Rachael Tovey as Brünnhilde was a bit problematic and left me rather disappointed in the end. While having a nice and steady middle register and a good lower register her top is simply not convincing. This might not be a problem for the Walküre Brünnhilde, but in Siegfried it is highly dangerous because the tessitura is significantly higher. Most notes above f felt short or had shaky intonation. However, the real sin of the evening was the fact that she decided to not even attempt the final high c of the love duet. Moments like this are simply not negotionable and simply destroy the structure of the piece!
The hero of the evening was Vincent Wolfsteiner as Siegfried with a voice that really impressed me a lot. His tenor voice combines the power of a Heldentenor with the light and easy top of a Charaktertenor. He is definitely one of the best Siegfrieds I heard so far and was worth the travel. In the end of the evening there seemed to be less brightness in his timbre, but he did not fail to deliver everything until the very last note. Bravo!
Alltogether a pleasing performance with a few deficits, but I enjoyed it and was happy to visit the house for my farewell tour. 8 stars.
Reviewed by Daniel Url

Monday 29 May 2017

Richard Wagner, Tannhäuser - Bayerische Staatsoper, Nationaltheater

Performance 25th May

After a rather quiet month I went to see the new production of Tannhäuser in Munich shortly after its premiere. The long awaited production features many interesting reasons to have a look at it and so I decided to do so. The production is led by Romeo Castellucci who is also responsible for the stage and the costumes. I have to admit that I still do not know if I liked or disliked the staging. Castellucci shows an extremely sophisticated and highly philosophical version of Tannhäuser and everyone who came to see a more or less traditional Tannhäuser was probably very disappointed. He showed some really interesting ideas and a very symbolical concept that had some incredibly strong moments. The whole production is simply highly aesthetical and follows an extremely aesthetical concept that works quite well. There is no such thing as a traditional direction of the characters, but a lot of symbols and many images that create an atmosphere without necessarily telling a story. Optically it was definitely a highly interesting production that clearly captured the audience with its aesthetics. However, sometimes I had the feeling that Castellucci made the work end up more complicated than it is. I think that the production is really interesting for people who know the piece well and are open to new views on the work. Unfortunately this might be the problem because people who are new to the work or opera in general surely felt like having a drug trip (not necessarily in a positive way) and probably did not get everything Castellucci wanted to deliver.
Musically the evening also was long awaited due to Kirill Petrenko's debut conducting this very work. I thought that he did a good job with a clear idea of the music and a extremely clean interpretation of the score. I sometimes felt that his tempi are quite rushed, but not in an extreme way. He gave me the impression that he worked really hard on the piece, but did not really find his relation with it yet. The Bayerisches Staatsorchester played very well and followed Petrenko's lead with passion and clarity. Some minor inaccuracies were there, but nothing really serious.
The Chor der Bayerischen Staatsoper did a great job with the really important choir part of the opera. I sometimes felt that the sopranos could have been a bit stronger, but alltogether they gave a wonderful performance and ended the opera with a ravishing final chorus.
Georg Zeppenfeld sang the role of Hermann and even though the part is not really big he did not fail to absolutely convince with it. Zeppenfeld is probably one of the most reliable singers out there and a guarantee for a nice performance. He sang the part very refined with his unique noble and solemn bass voice.
As Wolfram we heard Christian Gerhaher who did a solid job, but did not really convince me. His singing sometimes sounded too operatic on one hand and too much like Lied on the other hand. Especially the recitative-like parts in the beginning of act 3 were so mannered that it simply lost all drama and seemed more like a Liederabend. Of course he did not do a bad job, but I thought that his interpretation lacked soul and dramatic flow.
Elena Pankratova on the other hand did even exceed my expectations as Venus. Her powerful focused soprano has the necessary depth and also the easy top for the high notes. No doubt that she is one of the leading singers for that role at the moment and I am really happy to have heard her.
In the role of Elisabeth Anja Harteros seemed to be a rather dramatic choice, but nevertheless she did a solid job. I have to say that I could name other singers who would be a better choice for that certain role, but Harteros is professional enough to make it her own as well. She convinces with a strong and well balanced soprano voice that was able to deliver the drama of her character very well.
The most problematic performance of the evening was give by Klaus Florian Vogt as Tannhäuser. His extremely clear bright voice seems to be a rather strange choice for a role that is know to be a voice killer. Of course he has the power and stamina to endure a performance like that, but it simply feels weird to hear him in such a role. The one thing his voice definitely lacks is passion and colour. I would say that even a sinus tone has more timbre and colours than Vogt's voice that sounds the same throughout the whole performance. No matter if he sings of love, despair or death, he simply cannot give any other colour than the natural bright timbre of his voice. I thought that he was not as bad as I expected, but he definitely did not convince me in this role and I am sure there are enough other singers who could do a better job.
Alltogether it was a nice performance that really made me think a lot and clearly has give me a strong  and lasting impression. As I already said, I still do not know what to think about it, but it was definitely a performance on a very high level and therefor I can surely give 8 stars.
Reviewed by Daniel Url

Tuesday 2 May 2017

Gustav Mahler, Symphony No. 8 (Symphony of a Thousand) - Elbphilharmonie Hamburg

Performance 30th April

Part two of my epic music weekend in Hamburg was a visit at the prestigious Elbphilharmonie with one of the greatest symphonies of all time and a piece that definitely earns the designation epic. Before I will talk about the concert itself I want to say a few words about the hall and its acoustics. Much has been written about it and still you have to get your own impression about the sound of the new Elbphilharmonie. No doubt it is an incredibly spectacular building and I spent two hours before the concert to discover much of it. The hall looks marvelous and is definitely an eyecatcher (as well as the view from the several floors (11th to 16th floor to be exact)). Acoustically I was not as disappointed as I originally expected. The acoustics are really cold and mercilessly clear. In addition to this extreme clarity (which unfortunately does not create a homogenous consonance) the music often sounds strangely choppend and phrases are torn apart. So in the end, the acoustics are not as bad as some reports made me expect, but they definitely are rather difficult for the ensemble because they are not very supportive.
However, the concert itself was simply great and probably the best performance of the piece I ever heard live. Due to the illness of Kent Nagano, Eliahu Inbal took over the lead of the concert. With his more than 80 years he still brought so much energy and power into the performance that it was really impressive. Being a Mahler specialist, he pointed out many great details of the magnificent score and led the Philharmonisches Staatsorchester Hamburg to simply glorious performance. The huge orchestra did a wonderful job and played with intense passion as well as a nice balance between the different instrument groups.
The choirs (Chor der Hamburgischen Staatsoper, Hamburger Alsterspatzen & Staatlicher Akademischer Chor Latvija) also sounded wonderfully balanced and had a great range from absolutely silent to powerful forte. Especially during the famous chorus mysticus they showed great harmony and gave a ravishing performance.
The several soloists were very well cast as well and featured wonderful voices. The sopranos (Sarah Wegener, Jacquelyn Wagner & Heather Engebretson) combined powerful clear top registers with a very beautiful warm timbre.
Daniela Sindram and Dorottya Láng sang the two mezzo parts with their strong dark voices and were a great contrast to the sopranos. The tenor part was sung by Burkhard Fritz who did a great job once again. He did not show any fear of the high tessitura and managed his part without any problems.
Kartal Karagedik and Wilhelm Schwinghammer sang the two low voice parts and also met the high niveau of the performance. Karagedik's baritone voice has a heroic, sonorous timbre while Schwinghammer convinced with his dark and elegant bass voice.
As I already mentioned the performance was brilliant and I was really touched by this glorious work. I definitely can say that this was the best Mahler 8th I ever heard and therefor I can definitely give 9 stars to this marvelous performance in the new Elbphilharmonie.
Reviewed by Daniel Url

Sunday 30 April 2017

Richard Strauss, Die Frau ohne Schatten - Hamburgische Staatsoper

Performance 29th April

For a long time I have planned this weekend in Hamburg full of epic music and a visit to the new and long awaited Elbphilharmonie, but the first evening was reservated for my all time favorite opera and the subject of my master thesis (I might have mentioned it before). So I simply had to pass and have a look at it and I certainly did not regret it. For the production in Hamburg they decided to do the usual cut version introduced by Böhm. I am not really a fan of cuts, but if there have to be cuts, this is the version to do.
The production was led by Andreas Kriegenburg who created a very atmospheric surrounding for the opera with a mix of intense reality and fairytale-like fiction. He did not put the Empress, but the Dyer's Wife into the center of the story and told her story in a dreamlike fantasy that includes her and her alter ego (the Empress) and their difficulties. Both, the stage (Harald B. Thor) and especially the costumes (Andrea Schraad) were really impressively supportive to the plot and helped to elaborate the highly complex relations of the opera. I think in terms of the production it is certainly one of the best ones I have seen so far with its plain simplicity and highly emotional direction.
After the cancellation of Kent Nagano who should have conducted the evenin originally the operahouse was able to find an appropriate replacement with Axel Kober who showed that he knows the piece very well. Sometimes I felt that his tempi were quite swift, but alltogether it was a ver pleasing performance. The Philharmonisches Staatsorchester Hamburg played very well with great intensity and a wonderful range of colours. The marvelous instrumentation of Strauss was so captivating that it was a pleasure to just sit and listen.
The many small roles were sung solidly and did not give any reason for critique. Especially Alex Kim as the Youngling and Gabriele Rossmanith as Red Falcon & Keeper of the Treshold were done really wonderfully. Both with beautiful light voices and passionate legato singing. Bogdan Baciu also did a great job as Spirit Messenger with his powerful and dramatic baritone voice. I am quite sure that he might tackle the role of Barak someday in the future.
In the role of the Emperor we heard Roberto Saccà who was a rather lyrical choice for the role. He convinced with his easygoing top and a beautiful youthful timbre while his lower parts tended to sound a bit weak and simply not powerful enough. However he managed to do a good job with that really cruel tenor part (Strauss really must have hated tenors to write such difficult roles).
Andrzej Dobber probably gave this evening's best performance as Barak with a strong and flexible baritone voice that combines a warm and tender timbre with power and a highly convincing interpretation. He did not just sing his part really well, he also acted wonderfully and really made the audience believe that he IS Barak.
Changing her repertoire from being a former Färberin to singing the role of the Nurse now, Linda Watson showed that she is one of the great dramatic sopranos of our times. She managed the low parts of the role without any problems and also the high notes were as intensive as I expected. I personally thought that there is still potential when it comes to diction, but alltogether it definitely was a luxurious choice for that role.
Making her debut in that role, Lise Lindstrom sang the role of the Dyer's Wife and did a wonderful job with it. Compared to other singers of that role Lindstrom has a very bright and slender voice, but convinces with powerful and laser-like high notes that do not seem to bother her at all. Her performance was really touching and showed great understanding of the role. She definitely studied the role very well and did a great job.
Finally, the title role, the role of the Empress, was sung by Emily Magee who already sang the role several times. Her middle and upper register is incredibly clear and soft (perfect for the role) and she did not fear any of the high notes (including several high c's and also a d). Her lower register sometimes sounded a bit rough and rather expressive, but alltogether she gave fine performance and showed that she knowes to ration her power in that role.
Alltogether it was a magnificent and really touching performance that did not fail to convince me. The combination of good singing and a smart production really worked very well and so I can give 8 stars to Frau ohne Schatten in Hamburg.
Reviewed by Daniel Url