Carl Ludwig Junker News
composer, parson
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2024-03-28
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Royal Opera House (The Guardian)
2024-02-16 18:28:30
Royal Opera House, LondonImpressive new work from Joshua Junker and Mthuthuzeli November pushes dancers well beyond the classical repertoireBallet is a heritage art form that craves renewal. Companies often seek a galvanising jolt from artists in other dance styles, but the Royal Ballet’s festival gives classically trained makers a space to spread their wings, with length, large ensembles and strong design. The evening of new works results in confident main stage debuts for two experienced women based in New York and two younger men working in the UK.The only choreographer drawn from the Royal Ballet’s ranks is Joshua Junker. Never Known opens with a twitching, angular pack of dancers staring up at a high, hazy light (Zeynep Kepekli’s gloriously responsive lighting is key to all four ballets). Junker’s movement is often deliberate, close to the floor. He stretches his cast, quite literally: spines slink backwards, one dancer drapes over another’s shoulders, […]
2022-09-02 11:10:00
Salzburg Festival (6) – Mozart, Die Zauberflöte, 27 August 2022
Grosses FestspielhausImages: SF / Sandra Then Sarastro – Tareq NazmiTamino – David Fischer, Mauro PeterQueen of the Night – Brenda RaePamina – Regula MühlemannThree Ladies – Ilse Eerens, Sophie Rennert, Noa BeinartPapageno – Michael NaglPapagena – Maria NazarovaMonostatos – Peter TantsitsSpeaker, First Priest, Second Armoured Man – Henning von SchulmanSecond Priest, First Armoured Man – Simon BodeGrandfather – Roland KochThree Boys – Stanislas Koromyslov, Yvo Otelli, Raphael Andreas ChiangOld Papagena/Cook – Stefan VituThird Priest – Valérie Junker Lydia Steier (director)Katharina Schlipf (set designs)Ursula Kudrna (costumes)Olaf Freese (lighting)Momme Hinrichs (video)Ina Karr, Maurice Lenhard (dramaturgy)Concert Association of the Vienna State Opera (chorus director: Jörn Hinnerk Andresen)Angelika-Prokopp-Summer Academy of the Vienna Philharmonic (stage music)Vienna Philharmonic OrchestraJoana Mallwitz (conductor)When Lydia Steier first presented her Salzburg Magic Flute in 2018, the world was, as they say, a very different place. The trials of the intervening years have left their mark on this wholesale revision. So, I […]
2020-06-02 09:55:00
Wagner and German History
[…] sentiment in the Franco-Prussian War of 1870-1, witnessed in Eine Kapitulation – soon turned sour. Admiration for the Chancellor’s achievement – “an honest Prussian who succeeded in carrying out a diplomatic coup: ‘At that time he still knew nothing about the German swindle, he was a complete Prussian’.” – is more than balanced a fortnight later by: “That is why I curse Bismarck – for dealing with all these very important problems like a Pomeranian Junker.” “Curse” was obliterated by an unknown hand and replaced by “deplore,” testimony to family sensitivities concerning Wagnerian German identity (CWD, 31 Oct. 1882 and 14 Nov. 1882). Karl Marx could not have been further from the truth, political as well as aesthetic, when answering, at the time of the opening Bayreuth Festival, the persistent question, “What do you think of Wagner?” with the dismissal: highly characteristic of the “New German-Prussian empire-musicians” (Letter to Jenny […]
2019-10-04 12:23:00
Die lustigen Weiben von Windsor, Staatsoper Unter den Linden, 3 October 2019
Images: Monika RittershausFrau Fluth (Mandy Friedrich) and Frau Reich (Michaela Schuster) Sir John Falstaff – René Pape Herr Fluth – Michael Volle Herr Reich – Wilhelm Schwinghammer Fenton – Pavol Breslik Junker Spärlich – Linard Vrielink Dr Cajus – David Oštrek Frau Fluth – Mandy Friedrich Frau Reich – Michaela Schuster Jungfer Anna Reich – Anna Prohaska First Citizen – Javier Bernando David Bösch (director) Patrick Bannwart (set designs) Falko Herold (costumes) Michael Bauer (lighting) Detlef Giese (dramaturgy) Staatsopernchor Berlin (chorus master: Martin Wright) Staatskapelle Berlin Daniel Barenboim (conductor) René Pape (Sir John Falstaff) and Chorus No one would seriously claim Shakespeare’s Merry Wives of Windsor to be a masterpiece; the only question, it seems, is whether one might occasionally bear it. In that sense – and probably a few others – it is riper for conversion into opera than […]
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