Cristian Marina News
Romanian composer
Anniversaries
- contemporary classical music
- Sweden
- composer
streaming
Last update
2024-03-29
Refresh
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
[…] beside her with hands stuffed in his tracksuit pockets looking rather perplexed and amused. Then the famed couple, solemnly declaring their eternal love for each other, put all the vocal energy that exists between them into a majestic rendering of that great and telling number 'Leuchtende Liebe, Lachender Tod' (Radiant Love, Laughing Death) to a thunderous reception from a packed and appreciative house of seasoned and knowledgeable Wagnerians. When one arrives at Götterdämmerung the Norms (Marina Prudenskaya, Kristina Stanek, Anna Samuil) are by now crotchety old women hobbling about fudging in their handbags dressed in the comfy style of old grannies bent over and crippled with arthritis and, like Wotan, aided by walking-sticks. There's no evidence of them weaving the Rope of Destiny recalling the halcyon days of Wotan's reign and predicting the fall of Valhalla. But as they enjoy afternoon tea in Siegfried and Brünnhilde's well-furnished, custom-designed apartment, […]
Royal Opera House (The Guardian)
2024-03-26 12:56:43
[…] frenetic than some of Bonachela’s early works, and takes time and pleasure in the facility of the four dancers in long, continuous, ever-evolving phrases. They’re on their individual paths, but en route they connect, they embrace; they need each other. It’s all very human, while being technically impressive – this is a company of strong, versatile dancers, and what they show in Ascent is work that’s solidly movement and music-led, dancing round the edges of abstraction.Marina Mascarell’s The Shell, a Ghost, the Host & the Lyrebird opens feeling like early morning, with stillness and subdued light, and sparse shimmering music. From the ceiling fall ropes and swathes of fabric, like a ship’s rigging, and there’s the subtle impression of a voyage somewhere, choreography gently rocked by the water’s undertow. It’s a dreamy piece, although its potency wanes, not dissimilar to Antony Hamilton’s Forever & Ever, which is built like a […]
2024-03-25 23:45:00
Der Ring des Nibelungen, Staatsoper Unter den Linden, 18, 19, 21, and 24 March 2024
Images: Monika RittershausBrünnhilde (Anja Kampe)Wotan/Wanderer – Tomas Konieczny Donner, Gunther – Roman Trekel Froh – Siyabonga Maqungo Loge – Rolando Villazón Fricka – Claudia Mahnke Freia – Anett Fritsch Erda, Rossweisse – Anna Kissjudit Alberich – Johannes Martin Kränzle Mime – Stephan Rügamer Fasolt – Matthew Rose Fafner – Peter Rose Woglinde – Evelin Novak Wellgunde – Natalia Skrycka Flosshilde, Siegrune – Ekaterina Chayka-Rubinstein Siegmund – Robert Watson Sieglinde – Vida Miknevičutė Hunding – René Pape Brünnhilde – Anja Kampe Gerhilde – Clara Nadeshdin Helmwige – Christiane Kohl Waltraute – Michal Doron, Violeta Urmana Schwertleite – Alexandra Ionis Ortlinde, Third Norn – Anna Samuil Grimgerde – Aytaj Shikhalizada Siegfried – Andreas Schager Woodbird – Victoria Randem Hagen – Stephen Milling Gutrune – Mandy Friedrich First Norn – Marina Prudenskaya Second Norn – Kristina StanekDirector – Dmitri TcherniakovRevival directors – Lilli Fischer, Thorsten CölleCostumes – Elena ZaytsevaLighting – Gleb FilshtinskyVideo – Alexey […]
2024-02-19 17:22:00
Il barbiere di Siviglia, Staatsoper Unter den Linden, 16 February 2024
Count Almaviva – Siyabonga Maqungo Doctor Bartolo – Renato Girolami Rosina – Marina Viotti Don Basilio – Grigory Shkarupa Berta – Adriane Queiroz Figaro – Samuel Hasselhorn Fiorillo – Dionysios Averginos Ambrosio, Notary – Florian Eckhardt Officer – Wolfgang BiebuyckDirector – Ruth BerghausDesigns – Achim FreyerRevival director – Katharina LangStaatsopernchor Berlin (chorus director: Dani Juris)Staatskapelle BerlinIdo Arad (conductor)Images (from 2010): Monika Rittershaus I see that, in London, Jonathan Miller’s 1987 ENO production of The Barber of Seville is receiving another outing. It seems positively modern, though, at least when it comes to years and performances on the clock, when compared with Ruth Berghaus’s 1968 staging for the Staatsoper Unter den Linden, first seen a little less than midway between the declaration of the German Democratic Republic and the fall of the Berlin Wall and now past 350 outings. In one of these near-miracles impossible fully to explain, though, Berghaus’s production seems […]
or
- timeline: Composers (Europe).
- Indexes (by alphabetical order): M...