(Photo credit: Jean-Louis Fernandez) Eight years ago, Katie Mitchell’s staging of “Pelléas et Mélisande” was opera-lovers’ favorite summer topic. Echoes of its greatness could be heard in the wintery Brazilian July, and in the fall, when I was in Scotland, people still commented how great—or heterodox—it was. Its return to Aix’s stage reminds us of its scenic beauty and proves {…}
(Photo credit: Julien Benhamou) Let’s talk about chemistry. Cher and Sonny had it; so did Joey and Chandler. And, nowadays, the duo with the most chemistry in classical music is French-Italian mezzo-soprano Lea Desandre and French lutenist Thomas Dunford (D+D for the fans). The concert was extremely solar, gleeful, and gay, reflecting their bright partnership. Their youthful joyfulness even brightened {…}
(Photo credit: © Ruth Walz) Puccini in Aix-en-Provence is not an obvious combination, and it was not until 2019 with Christophe Honoré’s “Tosca” production that Lucca’s maestro made his debut in the festival. It was an ultra-revisionist “Tosca”: two primissime donne on the stage, several videoclips, and many other bold choices. It was glorious and thought-provoking. Therefore, expectations for a “Madama {…}
(Photo credit: Monika Rittershaus) “So, who is signing the work?” an operagoer asks Raphaël Pichon and Claus Guth at a lunchtime panel about their opera-project “Samson.” The music is Rameau’s, but it is not that simple. According to Guth (and his Wikipedia search), Rameau did indeed compose a “Samson” with a libretto by Voltaire; however, it is all lost. Pichon {…}
(Photo credit: Monika Rittershaus) Who’s afraid of double bills? We all love “Cav.” and “Pag.,” and there is some room in everyone’s heart for a “The Human Voice” meets “Bluebeard’s Castle;” nevertheless, Gluck’s Iphigenia operas performed together was a bit of a challenge. The operas, lasting two hours each, are easily stand-alone pieces, and—even though they share a protagonist—they appear {…}
Photo: © Jean-Louis Fernandez When a ticket to “The Threepenny Opera” costs three hundred euros, it is already evident that someone has not read Brecht properly. Thomas Ostemeier, the director of this Bertolt Brecht and Kurt Weill “opera,” is an interesting figure. German by birth, he has been very popular in Paris for his work with the traditional company Comédie {…}
(Photo Credit: Jean-Louis Fernandez) Reviewing a new opera is always a hard task. Beyond the many difficulties of reflecting on an extremely elaborate piece of work, after only one or two hearings, there is also a major difficulty for the critic when addressing unavoidable questions like, “is the new work any good?” This often transforms itself into a more dangerous {…}
(Photo Credit: Jean-Louis Fernandez) On the website of Aix-en-Provence Festival, the “Ballets Russes” is sold as a fully staged opera. Listing it that way, the festival director Pierre Audi is provoking the audience to see what opera can actually be beyond the screaming divas. Most times, Aix’s provocations pay off. In fact, it is part of the festival’s brand. In {…}
Photo: Bjorn Hickmann Stage Picture For the first time, Germany’s Oper! Awards were hosted outside Berlin, in a ceremony held at Theater Dortmund, to mark its award for Gemany’s best opera house. Clearly proud of its achievement, the theatre pulled out all the stops. Lasting over four hours, the ceremony consisted of 19 awards, taking in achievements from all aspects {…}
(Photo: Ruth Walz) It never ceases to surprise how Monteverdi’s operas prove themselves time and again to be not just supreme examples of how the art form succeeds as a dramatic medium, able to communicate directly with present day audiences, with characters who resonate so clearly with the modern mind, even over a distance of 400 years, but also the {…}
(Photo: Monika Ritttershaus) The initial impressions of the Aix-en-Provence festival’s production of Rossini’s “Moïse et Pharaon” did not bode well. Hearsay reports spoke of a modern day reinterpretation in which the focus was on refugees, and their life in the camps and the perils they face when crossing the Mediterranean. Productions which seek to politicize an opera, beyond that which {…}