Tannhäuser vs. Tannhäuser

A.J. Goldmann | Originally posted at Arcades Daily   A single subway station separates the Deutsche Oper Berlin from the Staatsoper im Schiller Theater, the long-running “temporary home” for Berlin’s oldest opera company, which is expected to transfer back to Unter den Linden in October. (I, for one, am not holding my breath). For a while now, it’s…

Wagner, Meyerbeer, Mozart and Britten among Deutsche Oper Berlin’s 2016-17 Premieres

  The Deutsche Oper Berlin is the first of Berlin’s three opera houses to announce their plans for the coming season. The six premieres will include a much-awaited new Huguenots from director David Alden and starring superstar tenor Juan Diego Florez. Along with Meyerbeer’s little-seen masterpiece (the single most popular opera of the 19th century), the company will…

Full Range and Scope of Operatic Diversity Characterize 2015-6 Season in Berlin

With this morning’s Jahrespressekonferenz at the Schiller Theater, Berlin’s operatic program during the 2015-16 season is complete. Starting in the fall, Berlin’s three full-time opera houses will present a combined total of 22 new productions and 64 repertory works, ranging from 1689’s Dido and Aeneas at the Staatsoper (in Sasha Waltz’s transcendent production) to the world premiere of Elens Kats-Chernin’s Snow…

The Deutsche Oper is Back!

This autumn in Berlin, the opera scene has been less overstuffed than usual, owing to the three month closure of the Deutsche Oper Berlin, due to badly-needed renovations. This season, the company was supposed to have moved down the road (literarily) into the Schiller Theater, which was intended as the the Staatsoper’s temporary home from…

Bayreuth 2014 Cast Lists & General Dress Rehearsal Dates

Somewhat disappointingly, this year’s Bayreuth program is virtually the same as the festival’s 2013 installment. It would have been nice to see Stefan Herheim’s Parsifal given one final revival before the hotly-awaited Jonathan Meese staging that will premiere in 2016. Oh well, we can always hope for next season. Here are the recently-announced general rehearsal dates. Tannhäuser…

Parsifal on Easter Monday (Deutsche Oper Berlin)

Philipp Stölzl’s production of Parsifal seemed more of a failure during the Deutsche Oper Berlin’s recent revival, which played its final performance Easter Monday. Stölzl, who previous provided the company’s thrilling WWII-themed Rienzi (as well as the Staatsoper’s superlative mise en abyme Holländer) finds no compelling way to critically engage with Wagner’s profound, infuriating and…

Is Stefan Herheim’s “Meistersinger” New York-bound?

The AP’s Mike Silverman reported yesterday that Peter Gelb is bringing Stefan Herheim’s new Salzburg Meistersinger to the ultra-conservative Met. Personally, I can’t think of a better choice of director to bring contemporary European Regietheater sensibilities to the New World. Herheim is one of a handful of Regie directors working today who show real intelligence,…

Castorf / Petrenko Bayreuth Ring Download Links

Now that the dust has  settled somewhat after the unveiling of Frank Castorf’s much-despised bicentennial Ring Cycle, all indications point to the Russian maestro Kirill Petrenko as the new hero of Bayreuth. In case you missed the radio broadcasts, here are links to mp3 files of the full cycle. The whole kit and kaboodel  weighs…

Bayreuth Festival Confronts Controversial History

I’m posting my report from Bayreuth that appears in this week’s issue of The Forward BAYREUTH On the occasion of Richard Wagner’s bicentennial, the Grüner Hügel, or Green Hill, that is home to the Richard-Wagner-Festspielhaus was littered with 500 multicolored “mini-Wagners” — garden-gnomelike figurines of the composer, hands raised as if ready to conduct. These cute…

Siegfried Production Stills

Our friends at Intermezzo have posted a wonderful selection of production stills from Frank Castorf’s Bayreuth Siegfried. The production had its premiere last night. Early reports have indicated that Lance Ryan had a hard time in the second act and that Petrenko’s hitherto exciting conducting turned dull in the third act. We’ll have more on that…