Thielemann leads and accompanies, firmly keeping all the dynamic reins in his hands. One could physically feel his love and devotion to the score in its smallest detail mastering a majestic, passionate, dreamy, explosive sound culminating in the most beautiful piano in Isolde’s death scene.
Poignant staging and a musical triumph of Mariss Jansons at the “Lady Macbeth von Mzensk” premiere in Salzburg. “Lady Macbeth von Mzensk” by Dmitri Shostakovich at Salzburg Festival.
Three visited performances: “Tristan and Isolde” on July 26th, “Parsifal” on July 27th and “Die Meistersinger von Nürnberg” on July 31st, can be united to build an operatic triangle marked by great singing, impressive acting and the unique flair of this historical place. Sort of Bayreuth-Bermuda-Triangle, a universe, one inside you never want and can escape.
Celebrating the great Giuseppe Verdi!
The final scene of Abigaille from “Nabucco” by G. Verdi
A modern “Diva” for me is the one who always comes as the first to the theatre and leaves as the last after the performance. The one, who is best prepared for the role, easy to talk to, always able to learn new ideas from good conductors and stage directors.
Carmen. The chronicle of proclaimed murder!
A stirring performance of G. Bizet´s “Carmen” at the MMA in Munich, Germany
Premiere on September 2nd, 2017
British director Graham Vick based his interpretation on two theses: First, Otello should not necessarily be sung by a black-painted white tenor and second, that one should have zero compassion for him. Thus, in this staging, all singers are white, and Otello is portrayed as a cold-blooded killer, whose killing of Desdemona was nothing more than as a long-term planned honour murder.