(Credit: Bernd Uhlig) As the Berlin Staatsoper opened its revival of Andrea Breth’s “Kát’a Kabanová,” a few hundred meters away, at the Alte Nationalgalerie on Museum Island, preparators put the final touches on a new exhibition of female artists. These two events, geographically close but outwardly unrelated, proved to resonate with one another in unanticipated ways. The Nationalgalerie’s exhibition drew {…}
(Credit: Monika Ritterhaus) “Die lustigen Weiber von Windsor,” like the vast majority of Singspiele, is not well-known outside the German-speaking world. Even in its native Germany, it’s mounted infrequently. Its story, however, is almost universally known. Like Verdi’s “Falstaff,” it’s closely based on Shakespeare’s “Merry Wives of Windsor.” A few details are Germanized: Alice Ford becomes Frau Fluth, and her {…}
For many, King Arthur is Britain. Deep in the history and literature, he stands as an icon of Britain’s essence – heroic, brave, mighty, magnanimous – the pinnacle of the good, even if flawed as even the noblest are. Henry Purcell’s opera, a.k.a. semi-opera, “King Arthur,” set to English poet John Dryden’s libretto, incorporates some of these characteristics while it {…}
On December 7, 2017, Staatsoper Berlin will be celebrating its 275th anniversary in the newly re-opened opera house. The past seven years have seen a number of renovations for the Staatsoper, allowing the organization to add new stage technology and improve the acoustic atmosphere of the historic building while preserving its beauty. A special concert will be held to mark its anniversary and {…}