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2024-03-15
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2024-02-12 14:34:43
Detlev Glanert’s new work is musically impressive, though the staging and story are problematic
2023-06-12 01:37:00
Madama Butterfly, San Francisco Opera
Butterfly's EntrancePhoto by Cory Weaver/San Francisco OperaI feel like every time I see or read about Puccini's Madama Butterfly at San Francisco Opera, a new production is involved. I remember four or five over the last 30 years, which is something, considering that I haven't even seen the opera in fifteen years.I took myself to the new SFO production, a co-production with Tokyo Nikikai Opera Foundation, Semperoper Dresden, and Det Kongelige Teater, Copenhagen, for a few reasons: I was skeptical about the concept behind the production and I actively wanted to hear music director Eun Sun Kim and the singers.Weeeelllll. I wound up feeling that I might as well have stayed home, which you can read as I could have swapped my ticket for yet another performance of Die Frau ohne Schatten, an opera I don't get to see every three years. Kim was fine, and the singers were fine, except that there […]
All the conducting master class
2022-07-03 13:39:00
15 – 20 Nov, 2022 LAKE COMO INTERNATIONAL CONDUCTING COMPETITION The second edition of Lake Como International Conducting Competition will take place in Bellano, on the magnificent shores of Lake Como, from Tuesday November the 15th until Sunday November the 20th. The jury is made by representatives of prestigious institutions such as Semperoper Dresden, Würth […]
2022-06-20 06:18:00
Anglais - Conversation with Giampaolo Bisanti, the new Opéra Royal de Wallonie-Liège Music Director
[…] literature changed widely with the Decadent movement in Germany. The verismo style is inspired by the changes of the musical world, including the second music school in Vienna. If we get into Puccini’s music, we realise how he keeps trying to keep a style alive but fails. In Suor Angelica or Manon Lescaut, we have tonal music but the form is inspired by the new era of composing. You’ve conducted at the Staatsoper Hamburg, Semperoper Dresden, Bayerische Staatsoper and Deutsche Opera Berlin. How different is it to play Italian repertoire with a German orchestra? « In Wagner’s music, you play a certain kind of forte. When you play Rossini, the forte is different. All the dynamics are colours, not only intensity or volume. (...) When you give (the orchestra) this piece of information they rely on your knowledge and they immediately “launch themselves” into the Italian style. » […]
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