(Photo: © Royal Swedish Opera) On March 29, the Royal Swedish Opera performed Wagner’s second opera, “Die Walküre,” from the four-opera epic, “Der Ring des Nibelungen.” Mixing interiors, epochs, and styles, the evening’s production featured (surprisingly sterile) 16th to 17th century Medieval great hall interiors for the first half and 18th to 19th century French fine art lined salon-meets 18th {…}
(Credits: Brescia e Amisano) ‘The error in the art-genre of Opera consists herein – a Means of expression (Music) has been made the objective, while the End of expression (the Drama) has been made a means.’ – Richard Wagner “Opera and Drama” (1851) Words and Tones, A Drama Must Make Wagner is difficult, though he attempted, through a lifetime {…}
(Credit: © Matthias Baus) The Wiener Staatsoper has announced a cast change for “Die Walküre.” The company announced that Simone Schneider will sign the role of Sieglinde, replacing Lise Davidsen who is pregnant and has canceled all performances after March until 2026. Schneider is one of the most sought-after dramatic singers performing at the Berlin State Opera, Hamburg State Opera, {…}
Image courtesy of Sydney Symphony Orchestra. Photo by Jay Patel. With “Die Walküre,” the second opera of Richard Wagner’s four-opera “Ring” cycle, the epic plot comes down to the human level, having begun in the first opera, “Das Rheingold,” in the realm of gods (albeit flawed), Rhinemaidens, giants, and other immortals. This November 15 and 17’s performances of “Die Walküre” in {…}
(Photo: Lucerne Festival, Patrick Hürlimann) Jan Vogler was appointed as artistic director of The Dresdner Musikfestspiele in 2009, since when, according to the company’s website, it “has expanded its global reach and has broken new ground offering a wide range of programmatic concepts.” Its current project endeavors to open a “new chapter in Wagner interpretation history with its ‘The Wagner {…}
(Credit: Fotos von Bernd Uhlig, Kontakt: [email protected]) Often after watching a perplexing rendition of “Das Rheingold“, critics and public alike might proclaim: “Let’s see what will happen tomorrow night. Let us hold our judgement until then, to see where all of this is going.” And then, Herheim’s “Die Walküre” began, proving to be the worst of the cycle. The First {…}
(Photo credit: Raftermen Photography) Of late, The Atlanta Opera (TAO) makes possible the nearly-impossible. In March, your reviewer summarized the robust health this company enjoys despite the current fiscal climate that shrinks arts organizations. With each gut punch to classical music lovers in the United States—the Metropolitan Opera Guild evaporating and Opera News taking the form of a brief supplement {…}
The current “Der Ring des Nibelungen” at Staatsoper Berlin came into being in October 2022 directed by Russian director Dmitri Tcherniakov and due to be conducted by Daniel Barenboim. Sadly, though, Maestro Barenboim, had to pull out of the production because of severe health issues, a great blow to all, but so disappointing for Barenboim in his 80th year. {…}
The Atlanta Opera is set to close its mainstage 2023-24 season with the second of the “Der Ring des Nibelungen” operas by Richard Wagner. General and Artistic Director Tomer Zvulun directs a production of “Die Walküre,” which will be presented between April 27 and May 5 at the Cobb Energy Performing Arts Center. The opera will star Greer Grimsley, Viktor {…}
(Photo: © Enrico Nawrath) As the final cycle of Bayreuth’s 2023 “Ring des Nibelungen” came to a close, the air remained electric with the sounds of Wagner’s apocalyptic horns and the swirling raptures of the Rhine. Camps came away divided into those either outraged or captivated by director Valentin Schwarz‘s reinvention of the Walsung’s messy journey into oblivion. To be {…}
Credit Frank Caliri Jonathan McPhee boasts a diverse musical portfolio. As the Music Director for the Lexington Symphony in Massachusetts and a Guest Conductor at the Houston Ballet, his expertise doesn’t stop there — he’s also a composer and arranger. With an affinity for arranging, he’s notably transformed grand pieces, such as Stravinsky’s “Rite of Spring” and “Firebird” into reductions. {…}