Waltraud Meier’s second to the last hurrah as Klytämnestra, the beautiful yet guilt-ridden Queen of Mycenae, was in full swing tonight. Enjoy my review, and please enjoy Frau Meier’s final hurrah to the operatic stage on October 20.
Opera
Graduating from the flirtatiously flitting Fiakermilli to the imperious Queen of the Night was Hye-Young Moon, a young lyric coloratura soprano who embraced the challenge of tackling this demanding yet iconic Mozart villainess. Enjoy my review and let me know your opinions as well.
Damiano Michieletto’s production of Jenufa transports the action from a bucolic Moravian village to a cold, desolate, icy locale with minimal props. At least Evelyn Herlitzius and Asmik Grigorian carry the evening. Enjoy my review and let me know your opinions as well.
Freddie de Tommaso, a rock-steady young tenor with so much to give to the opera world, tackles the role of the impassioned painter Mario Cavaradossi. Enjoy my review and let me know your opinions as well.
How did one of Deutsche Oper Berlin’s veteran basses fare as the stern yet kindly Padre Guardiano? Please find out in my review and let me know your opinions as well.
Going from strength to strength in his ever-flourishing career and possessing a brilliant future in more leading man roles is Byung Gil Kim who tackled the role of the imperious high priest Ramfis. Please enjoy my review and let me know your opinions as well.
To say that this production of Verdi’s La Forza del Destino at the Deutsche Oper Berlin left so much to be desired is a mere understatement, but how did all the singers persevere in this extremely messy production? Please find out in my review and let me know your opinions as well.
David McVicar’s production of Mozart’s Idomeneo may eclectically combine Feudal-Era Japanese, Middle Eastern, European, and Greek aesthetics, but how do the singers fare in their roles in this production? At least it was nice that I have achieved my dream of seeing Olga Peretyatko and Anna Prohaska together on stage as the two rivaling princesses Elettra and Ilia respectively. Enjoy my review and let me know your opinions as well.
How did Gabriela Scherer tackle the title role of Strauss’s Arabella, as she ended up singing the subsequent performances after the premiere? Find out in my review and please let me know your opinions as well.
Rainelle Krause, a lyric coloratura soprano renowned for her fearlessness as an aerial acrobat, heralds the stage as one of her calling-card roles, The Queen of the Night, alongside the astounding light lyric soprano Victoria Randem as Pamina and the sweet soprano light lyric coloratura Regina Koncz as Papagena. Enjoy my review and let me know your opinions as well.