Karita Mattila News
Finnish operatic soprano
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2024-03-11
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2024-01-30 07:50:00
Back with vengeance: Nina Stemme in Richard Strauss' Elektra at Covent Garden
Strauss: Elektra - Nina Stemme, Sara Jakubiak - Royal Opera (Photo: ROH/Tristram Kenton)Strauss: Elektra; Nina Stemme, Sara Jakubiak, Karita Mattila, Charles Workman, Lukasz Golinski, director: Christof Loy, conductor: Antonio Pappano; Royal Opera HouseReviewed 26 January 2024Nina Stemme back on form with a coruscating performance in the title role in a new production that showcases the vividly dramatic performances from the entire cast supported by the orchestra on top formI have been lucky with my Elektras over the years. My first was Pauline Tinsley in 1979 in Harry Kupfer's production for Welsh National Opera. I saw it on tour in Glasgow, and as far as I can tell this was the last time the work has been fully staged 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 […]
Royal Opera House (The Guardian)
2024-01-14 15:19:22
Royal Opera House, London Antonio Pappano and his orchestra bring out every detail of Strauss’s technicolour score but Christoph Loy’s static production, although boasting star leads in Nina Stemme and Karita Mattila, offers few fresh insightsIn 2002,
2024-01-11 10:54:00
Jenůfa, Staatsoper Unter den Linden, 7 January 2024
[…] as in a small rural community, most of what is going on, whilst still maintaining some degree of secrecy. This is a world of violence and poverty, and so it feels, whilst avoiding undue specificity: the level of abstraction is such that the message need not be restricted to any one milieu. That enables a degree of symbolism, perhaps not entirely unlike Olivier Tambosi’s 2001 Covent Garden production (my first, with Bernard Haitink and Karita Mattila no less). Ice/water is central to Michieletto’s conception. There is something icy to the walls, but more fundamentally, not unlike Tambosi’s giant boulder, although the other way up, an iceberg descends from the ceiling or sky. It hems in the action to varying extents, according (I assume) to the emotional and broader dramatic temperature. Števa hacks a block of ice to pieces, with violence shocking both in itself and in its childishness, […]
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