Posts - Opera

Magnificent Benjamin Bernheim Stars in Met’s “Hoffmann”

Magnificent Benjamin Bernheim. The four villains require great range, both vocally and dramatically and Christian Van Horn filled them all. The snide Lindorf, the crazed Coppelius (who sells eyes on the side), the pure evil, murdering Dr Miracle and the silk, elegant Dappertutto all benefit from his dark, resonant tone. Mr Sher has given little delineation to each; Mr Van Horn completed what Sher left out. The third star turn of the evening was from Erin Morley as Olympia. Hers was an object lesson in wacky acting, perfectly wed to high flying coloratura music. She actually embellishes the already difficult doll song and does not stop at the vertiginous E flat. She soars even higher, up to an A flat above high C. The audience found it delicious.

GURRE-LIEDER. The Uncanny Permanence of Gurre-Lieder.

Gurre-Lieder. Uncanny, then, is Gurre-Lieder in its sense of fervor, intensity, presentiments, restlessness when confronting life, and what it may have in store for us.

Opera. Entertainment for tourists?

Opera. Entertainment for tourists? From this point of view, unfortunately, the genre is increasingly in danger of being reduced to “entertainment for tourists”, a category that already represents a significant part of the audience, especially in arenas. This is a sad prospect, considering that in 2023 the art of opera will be proclaimed an “Intangible Heritage of Humanity” by UNESCO.

The World of John Neumeier

From September 29 to October 13, Baden-Baden will once again be celebrating the work of choreographer legend John Neumeier. At the first three-week-long dance festival in 2024, the curator will be presenting his own works and inviting exciting dance companies into his “World of John Neumeier.”

Rigoletto disaster returns to Amsterdam

According to The Dutch National Opera, “Michieletto has now become one of the most in-demand directors in the world.”
Shows perfectly what The Dutch National Opera DNO’s priorities are all about.

Discordia Hall in Amsterdam

Discordia Hall in Amsterdam. In the area of diversity, the Dutch National Opera is seriously failing. Opera lovers who are attached to a libretto-compliant performance are often called “traditional”. This is nonsense. If a restaurant that serves rice and potatoes decides to serve potatoes only, do we suddenly call rice lovers “traditional restaurant-goers”?
For the so-called “traditional opera lover,” opera is an episodic art form that is best enjoyed when the composer and librettist are unconditionally accepted and respected and no disgusting shenanigans are pulled by the director, such as Die Zauberflöte in Auschwitz or “moving” Aida to Evita Peron’s Peru.

Are we addicted now ?

Are we addicted now ? We must also consider the impact of “regietheater” and the fanaticism of “political correctness.” These are two forces that are transforming the world of opera. In the name of “political correctness,” every possible reference to anything that does not conform to the new doctrine is modified or eliminated. We are seeing more and more often “Aida” with light skin, Turandot who avoids any possible reference to China, changes to terms in the libretto considered racist, and so on.

Dutch National Opera “Toxic ideology on art”

DNO “Toxic ideology on art”. “Her first major solo decision was to cancel an already booked new performance of Verdi’s Otello because of ‘the progressive understanding that an all-white team, including the performer of Otello, is problematic. This no longer felt right with the current changes in our society … Otello in a contemporary form can only be done in a team of color.’ (…) So a white tenor, in her opinion, cannot play the role of a general from North Africa who becomes jealous of his wife.”

Roberto Devereux in Amsterdam

Roberto Devereux. Elisabetta wordt in de DNO-productie gezongen door Barno Ismatullaeva’s, die haar rol met bewonderenswaardig zelfvertrouwen aanpakte: ze beweegt met gemak tussen registers, heeft een onberispelijke ademtechniek, een fraaie dictie en minzame, afgeronde hoge noten.

Anousha Nazari

This album of music for lyric voice, clarinet and piano is the work of four new-generation Iranian composers brought together for this unprecedented production. After choosing one of Omar Khayam’s quatrains, each of them composed a piece of music inspired by his favourite text, recreating the universe imbued by these poems that resonate from the depths of time.