Zuerst viele Jahre lang Schweigen. Dann einige Aufführungen hintereinander: Frank Martins Schicksal ist symptomatisch für die Repertoire-Restriktionen in Wien. Immer dieselben Dinge verkaufen sich. Bei einem Werk wie Martins Passions-Oratorium “Golgotha” verlassen Abonnenten den Goldenen Musikvereinssaal bei erster Satzpausen-Gelegenheit. Die Bereitschaft, sich zur gegebenen Zeit mit anderem als den Bach-Passionen auseinander zu setzen, ist enden wollend.
Year: 2005
Cincinnati Opera Full Speed Ahead
Cincinnati Opera, on the move for the past half-dozen years, is not slowing down. Quite the opposite. The nation’s second oldest opera company appears to be speeding up.
Les Travailleurs De La Mer: Ancient songs from a small island
Cast off the shores of Normandy, the tiny isle of Guernsey lies isolated between the two European powers of England and France. Guernsey, however, has remained independent since 1204, and its government, the Bailiwick of Guernsey, comprises the inhabited islands of Guernsey, Alderney, Sark, Herm, Jethou, Brecqhou and Lihou. Rich in an abundant culture and history, Guernsey is well-known for its sea ports, mystic pagan rituals, potent cider, and poetry.
Per Questa Bella Mano at the Barbican
You don’t expect absurdity in a concert of Mozart arias and instrumental music, but in bass-baritone Thomas Quasthoff’s concert with the period-instrument Freiburg Baroque Orchestra, the highlight was a work of Pythonesque weirdness.
A Changing of the Guard at the Bayerische Staatsoper
Zum Start eine Strauss-Oper unter Kent Nagano, ein Rossini-Zyklus mit Ivor Bolton am Pult, eine deutliche Erweiterung des Sänger-Ensembles: Das alles wird erst ab 2006/ 07 passieren, ab der Ära Christoph Albrecht also. Doch zuvor erleben Münchens Opernfans die letzte Spielzeit unter der Ägide von Sir Peter Jonas, die insgesamt 13., eine “lucky number”, wie der Intendant findet.
On Tour with William Christie
HOW refreshing, you think, as Les Arts Florissants bounds on stage, to see an early-music combo whose contracts appear to contain no clauses forbidding visits to hairdresser, shoe-shop and dressing-table, no injunctions to wear nothing but sacking and zit cream. How delightful, how French. With William Christie’s band, as Emcee in Cabaret might say, “Even ze orgestra is beaudiful.”
Taking Risks in Montreal
Toronto—L’Opéra de Montréal plans to break with routine next year by presenting three operas the company has never done before.
Carmen with a South African Twist
British director Mark Dornford-May’s daring transposition of Bizet’s opera to a South African township has landed him a major film award – and a new wife. He talks to Jasper Rees
Wiener Staatsoper — The Cost of Doing Business
Die Wiener Staatsoper hat ihre Abonnement-Preise erhöht. Zum Teil so kräftig, dass Musikfreunde nun für ihre Karten beinahe doppelt so viel bezahlen müssen wie bisher. Ein Proteststurm war die Folge, der auch viel Kritik an der künstlerischen Gebarung des Hauses einschloss. Direktor Ioan Holender wollte diese im Zuge der Debatte über die Preiserhöhungen nicht kommentieren, sondern verwies an seinen Geschäftsführer, Thomas Platzer.
Countertenors Victorious in Copenhagen
Last week in the Danish capital city, still chilly after freezing weather and heavy snow, the spirits were raised by two contrasting but equally fulfilling events in the shape of the Danish Royal Opera’s revival of Francisco Negrin’s production of Handel’s “Giulio Cesare” featuring the return of star European countertenor Andreas Scholl in the title role, and the debut appearance in the city of his American counterpart, David Daniels, in a concert performance of Bach and Vivaldi. Both singers were in fact enjoying indulging their talents in their less well known fachs: Scholl is rarely seen on the opera stage and admits to feeling less than completely at home there. Daniels, on the other hand, fresh from yet another Handelian triumph at the Metropolitan Opera (Bertarido in the sumptuous new production of “Rodelinda”) is not known as a Bach specialist, but was essaying his second concert performance in Europe of the great cantata BWV82, “Ich Habe Genug”, reviewed elsewhere.