Ulrich Reß

Penderecki's Opera of an entire convent, in the small French village of Loudun, apparently possessed by the devil.

El nuevo "Ballo in maschera" de Munich ha recibido muchos elogios de la crítica: "Esta producción muestra lo que puede ser una ópera utopía" (Abendzeitung). Diez años después de dejar el cargo de director musical de la Ópera Estatal de Baviera, Zubin Mehta regresó a Múnich en marzo de 2016 para celebrar su 80 cumpleaños dirigiendo la obra maestra de Verdi por primera vez en una producción escénica. Su elenco cuenta con algunos de los mejores cantantes de Verdi de la actualidad: la soprano Anja Harteros, quien canta Amelia por primera vez y 'llenando cada nota con intensidad verdiana', el tenor Piotr Beczala como un 'Riccardo visual y vocalmente elegante' y George Petean como un 'ejemplar'. Renato (Neue Musikzeitung). En la nueva producción súper sensible del director Johannes Erath, esta historia histórica de amor ilícito, conspiración y traición se desarrolla de una manera surrealista, escenario sombrío transformado por iluminación y proyecciones.

The French tale of a beautiful young woman destroyed by her conflicting needs for love and luxury.

A legend of mermaids, mere mortals, and sylvan glades. Be transported to a mystical world of water sprites, witches, and wood nymphs. In exchange for love, Rusalka will relinquish not only her mermaid magic, but also her voice.

Live performance, Bayerische Staatsoper, 2011. The Tales of Hoffmann (French: LES CONTES D'HOFFMANN) is an opéra fantastique by Jacques Offenbach that combines three short stories by E.T.A. Hoffmann into a haunting whole: a melancholy poet reflects on three women he loved and lost in the past: a mechanical performing doll, a Venetian courtesan, and the consumptive daughter of a celebrated composer. One of the questions this opera poses for any director is how to link the 'tales' of Hoffmann's three lost loves together and knit them satisfactorily into the Prologue and Epilogue. In this production, Richard Jones solves the puzzle by turning it into an autobiographical journey which ends with a grand meet-up of all the characters Hoffmann has encountered: for once, Hoffmann is not presented as a rollicking kind of drunken story-spinner, but rather a sad-eyed, sobered-up depressive, who reaches for the bottle only because his disastrous love life has gone wrong yet again.

Rusalka is not a happily tragic fairy tale. Rusalka’s lake is a dark, damp cellar, where she is imprisoned with her sisters by her abusive father. But once she finally escapes, she is thrown mute and alone into an equally brutal world where she is utterly unequipped to survive, and he increasingly looks like a protector.

The first ever performances in Munich, this production was entrusted to Dmitri Tcherniakov, whose worldwide reputation is underpinned by productions like Eugene Onegin and Macbeth at the Paris Opera and Don Giovanni at Aix-en- Provence. The superb international cast includes a fine Blanche de la Force in Susan Gritton and an excellent Madame de Croissy by Sylvie Brunet, who was favourably compared to Rita Gorr in the press.

Ópera basada en una leyenda sobre el músico renacentista Giovanni Pierluigi da Palestrina, quien salva el arte de la música contrapuntística (polifonía) para la Iglesia en el siglo XVI a través de su composición de la Missa Papae Marcelli

One of Modest Mussorgsky's great talents was his unique ability to transpose words, psychological states, and even physical movements, into music. Kent Nagano rises magnificently to the challenges presented by this score. And Dmitri Tcherniakov's fascinating production emphasizes the timeless quality of this sombre tale of intrigue and power struggles reminiscent of a Greek tragedy, reflecting Mussorgsky's own maxim: "The past in the present - that is my task."

Adaptation of 'The Flying Dutchman', recorded at the Bavarian State Opera.