Despite mixed reviews regarding André Heller‘s staging I am really excited for tonight’s Rosenkavalier at @StaatsoperBLN especially in light of this fantastic cast 😍🌹
@StaatsoperBLN Mostly positive feelings after last night. As expected @GGboeck took the cake with his vivid and engaging portrayal of Baron Ochs. This is the second time I have seen him in this role and it really seems to become the calling card for him.
His low e at the end of act 2 went on forever and he was bursting with agility and energy for the role. It does not get better than this. #CamillaNylund delivered a beautiful Marshallin with her clear and pure voice.
Both #MichèleLosier (Octavian) and @nadinecsierra (Sophie) were flawless and completed the main quartet beautifully. Extra shoutout for @KatharinaKammerloher for a fantastic Annina.
I did not have the impression that Mehta was too slow - on the contrary, it felt to me as if the scene between Marshalling and Ochs in act one was almost a bit hasty, leaving little room to really delve into the depth of the saucy Ochs monologue.
Staging: André Heller goes for big impressions. Dark greens, reds and blues dominate the stage. It is more aesthetics than actual scene - the props are reduced and unfortunately this sometimes lends a static feeling to the whole play.
Also the settings of act 3 (Palm garden) seemed a bit random to me and not supported by the libretto. But overall it was a pleasing, unobtrusive stage and Heller certainly does not deserve the hate which some folks directed at him here on Twitter.
Curtain 📸
• • •
Missing some Tweet in this thread? You can try to
force a refresh
Man wird diese Walküre sicherlich im Gesamtzusammenhang der Tetralogie neu bewerten müssen, aber mit diesem Disclaimer hier ein paar Gedanken von mir zur Inszenierung (gerne als Diskussionsanregung): 1/ #DOBWalküre#DOBRing@deutsche_oper
Bühnenbild:
Das Bühnenbild ist leider sehr eintönig, bleibt über alle Akte gleich und bietet (außer im 1. Akt) wenig Möglichkeit zur Interaktion, so dass die Inszenierung trotz eigentlich guter Personenregie statisch wirkt.
Zudem ist die Symbolik mit den Kofferbergen etwas „on the nose“ und der Koffer als Theatersymbol nicht besonders originell.
Auf in eine neue Saison, die sich so ganz anders anfühlt als in den anderen Jahren... Aber die gespannte Vorfreude im Saal ist mit Händen zu greifen!! #schöpfung@Konzerthaus_DO
Hengelbrock lässt mit seinem wunderbaren Ensemble Klänge aus dem Nichts entstehen, die Stimmen der Solistinnen schwingen sich fast vibrato- und wie mühelos in die Höhe und der Chor preist aus vollen Kehlen nicht nur den Schöpfer, sondern wohl auch die Lust am eigenen Klang.
Als hätte sich ein Ventil geöffnet bricht der Jubel im Publikum aus. Als gäbe es keinen Virus, für diesen Moment ist das vergessen.
A while ago Grace Hoffman’s piano score of FROSCH was offered up for sale on eBay. Listening to the opera with her notes before me and knowing that this is the very book she used to prepare her part is a very special experience.
On one hand it is fascinating to be able to see how she annotated the part of the Amme (and I wish there was a recording with her in this role) and understand how she has approached the role...
... and also to be aware that this is a historical artifact from one of the great singers of the 20th Century inspires a sense of awe...
It’s raining cats and dogs outside but I am thrilled beyond belief for this first opera night of the new decade. A more than 20 year old production which I have only been able to see on DVD so far will come to life at @staatsoperHH tonight with a fantastic cast! #backtoschool
What! A! Night! Spectacular Lohengrin with a cast to die for. #KFV was exceptional with a great sense for the fine undertones of the score. @Arianetanja sent shivers down my spine during the second act and #SimoneSchneider was a well rounded and beautifully melodic Elsa.
#GeorgZeppenfeld proved again to be a profound and earnest Heinrich. #WolfgangKoch sang Telramund with a lot of strength that he was not always able to sustain. Conducting by Nagano was lucid if sometimes a bit imprecise. But that’s nitpicking.
On to the last day of the #RingamRhein. Götterdämmerung with @juliab2209 at @operamrhein
I am really happy that the house seems packed today again after a sadly half-empty auditorium for Siegfried. 💪
@juliab2209@operamrhein Phenomenal Götterdämmerung closes out a Ring that got better with every performance. Linda Watson was just amazing today and Axel Kober managed to create those magical scenes where you just have to hold your breath because they are so delicate ...
... as well as the huge impactful emotional moments. Sami Luttinen (Hagen) and Bogdan Baciu (Gunther) gave stellar performances - and it was great to see and hear Sarah Ferede again (as Norn and Waltraute) after her beautiful Sieglinde.
Curtain 📷 for #bftannhäuser Another great production. @LiseDavidsen was out of this world with her beautiful round and dark shimmering voice. I have to admit that I am a bit on the fence with Kratzer‘s staging.
Did @Twitter just delete all the messages in my thread? 😳 I had abou six tweets prepared in which I had talked about the production but they seem to be gone!!
Ok. Here‘s the gist: I think the production was very clever but relied too much on jokes esp. in the first two acts. The third act was the most moving theater I have seen in a long time.