Alois Götz News
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2024-03-28
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2024-03-27 08:09:00
Revisiting Staatsoper Berlin’s Ring cycle proved a thrilling experience: Dmitri Tcherniakov's production returns to Unter den Linden with conductor Philippe Jordan
[…] things I know today'. Praise, indeed! And no stranger to Staatsoper Berlin either, Tcherniakov worked with Barenboim on Tristan und Isolde in 2018 and, a year later, on Prokofiev's Betrothal in a Monastery. But this is his first Ring which follows hard on the heels of Deutsche Oper Berlin's new cycle, first seen in 2022, too, directed by Norwegian director, Stefan Herheim. He's another newcomer to Wagner's epic tetralogy who, incidentally, was a disciple of Götz Friedrich, a formidable and well-respected director and, indeed, a Ring superstar! Ring cycles, it seems, are pasted all over the European cultural landscape outside of Deutschland and one that grabs my attention has been unfolding at La Monnaie/De Munt in Brussels, one of my favourite European houses. They're well into their new cycle conducted by Alain Altinoglu and directed by Romeo Castellucci. Das Rheingold arrived last year, Die Walküre was seen earlier this year […]
2024-02-21 18:49:00
Le nozze di Figaro, Deutsche Oper, 20 February 2024
Count Almaviva – Thomas LehmanCountess Almaviva – Maria Motolygina Susanna – Lilit Daviyan Figaro – Artur Garbas Cherubino – Meechot Marrero Marcellina – Michaela Kaune Don Basilio – Burkhard Ulrich Don Curzio – Chance Jonas-O’Toole Bartolo – Padraic Rowan Antonio – Patrick Guetti Barbarina – Ketevan Chuntishvili Two Bridesmaids – Yuuki Tamai, Asaha Wada Director – Götz FriedrichSet designs – Herbert WernickeCostumes – Herbert Wernicke, Ogün WernickeRevival director – Gerlinde PelkowskiChorus (chorus director: Thomas Richter) of the Deutsche Oper Orchestra of the Deutsche OperGiulio Cilona (conductor)DIE HOCHZEIT DES FIGARO von Wolfgang Amadeus Mozart, Deutsche Oper Berlin,copyright: Bettina StößCount Almaviva (Thomas Lehman), Susanna (Lilit Dayivan), Don Basilio (Burkhard Ulrich)Next stop on my tour of Berlin’s ‘vintage’ opera productions: Götz Friedrich’s Deutsche Oper Marriage of Figaro, a joy to encounter in itself and a nice sequel to Ruth Berghaus’s Barber of Seville across town at the Staatsoper. Friedrich’s productions are gradually making their […]
2024-01-30 07:50:00
Back with vengeance: Nina Stemme in Richard Strauss' Elektra at Covent Garden
[…] in Scotland (and that performance in Glasgow was the first time it had been staged there since 1910).Then in 1988, I was lucky enough to catch Gwyneth Jones on terrific form in the very last revival of Rudolf Hartmann's 1953 production at Covent Garden. Hartmann was a director associated with Richard Strauss and he staged the premieres of Friedenstag and Capriccio, and his production seemed to echo the designs of the original ElektraThis was followed in 1990 by Götz Friedrich's production with Eva Marton and Deborah Polaski, since then Susan Bullock in Charles Edwards' 2003 production to name but a few. But it has always been Tinsley and Jones that stayed in the mind. Now, I can add another performance to the roster, that of Nina Stemme who returned to Christof Loy's new production at Covent Garden on 26 January 2024 with renewed vigour following a bout of illness. Antonio Pappano conducted, with Sara […]
2023-12-04 14:03:00
Die Meistersinger von Nürnberg, Deutsche Oper, 3 December 2023
[…] were inevitably, in a performance of this length, occasional cases of stage and pit falling apart – one unfortunately so in the Quintet – they were soon remedied. Far more noteworthy were a lack of awkward corners and an abundance of musical continuity, very much in the spirit of the work. The chorus was excellent throughout. A qualified welcome, then, to the first revival of this Meistersinger. Its predecessor was, I think, the last of Götz Friedrich’s Wagner productions to be replaced here in Charlottenburg. I saw it in 2010 and recognise both loss and gain in its replacement. As the work reminds us, though, nothing is for ever and certainly not in art. There was enough here, not least in fine sung performances, to remind me of my love for Die Meistersinger – I shall admit to having shed the odd tear, in the Quintet and in both the […]
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