Posts - Opera

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.

Zarqa Al Yamama

Based on an ancient tale from pre-Islamic Arabia, Zarqa Al Yamama tells the story of a legendary woman born to the Geddes tribe and blessed with the gift of foresight. Foreseeing the approach of a rival army that threatens to destroy her people, the story follows the heroine as she attempts to warn her leader and his advisors of the impending danger.

CANDIDE in Melbourne

Dann Barber’s all-purpose unit set was deceptively simple and highly effective, proof positive that even in a grand, capacious venue like the Palais, and within a lumbering, overstated comedic farce, sometimes the simplest scenic conceits, well-executed, are all that is required.

Le Roi d’Ys in Amsterdam

Le Roi d’Ys. The soloists, the fine Hungarian National Choir of about 50, but sounding like 100, and the perfect Hungarian National Philharmonic Orchestra conducted by György Vashegyi treated us to a jewel on February 3: a little-known, colorfully orchestrated French Grand opera that is definitely worth a visit.

Parelvissers in Berlijn

Parelvissers. Bizet werd geplaagd door een artistiek geweten, hij schaamde zich voor het charmante in zijn muziek in plaats van het grootse. Hij legde een tanende interesse voor het drama aan de dag.

Agrippina. A slapstick comedy.

AGRIPPINA. Besides pathos and drama, there is certainly irony to be discovered in Agrippina, but Kosky turns it into a flat farce and treated us to incomprehensible follies.