Christa Mayer

Ernst Krenek's theatrical piece Karl V. consisting completely of twelve-tone series should have premiered at the Vienna State Opera. The political situation in the Vienna of 1933 and the fact that Krenek was despised by the Nazis because of this Jazz opera Jonny spielt auf, prevented the première. It only took place five years later in Prague, however Krenek had already emigrated to the USA. Karl V was the last emperor to hold to the idea of a Christian empire in which the sun never set, although its downfall was always inevitable, for numerous reasons. For the second production of Karl V. in the Nationaltheater, Carlus Padrissa in particular seeks out political power systems that are highly topical, and so very precisely analyses the treatment in the theatrical piece. At the core of the intellectually and linguistically highly qualified libretto, written by the composer himself, Karl V. reflects on his life and makes his confession to a young monk below Titian's La Gloria.

En abril de 2017, un gran ojo brilló sobre el escenario del Festival de Pascua de Salzburgo. Formaba parte de la reconstrucción de la ópera de Wagner "Die Walküre", que Herbert von Karajan había desarrollado él mismo para Salzburgo 50 años antes. Con motivo del aniversario de esta actuación legendaria, la élite de Wagner de nuestro tiempo se reunió para recrear la visión del teatro musical de Karajan de 1967 bajo la dirección de Christian Thielemann. Contigo. a. Georg Zeppenfeld, Anja Harteros, Peter Seiffert, Anja Kampe y Vitalij Kowaljow no dejaron nada que desear en términos de voz, y Christian Thielemann es el director que generalmente se dice que se acerca más al antiguo concepto de sonido de Karajan en la actualidad.

RICHARD WAGNER - Tristan und Isolde - Bayreuther Festspiele Stephen Gould, Evelyn Herlitzius, Georg Zeppenfeld, Iain Paterson, Christa Mayer Bayreuth Festival Orchestra, Christian Thielemann Staged by Katharina Wagner

Christian Thielemann dirige la Orquesta del Festival Bayreuth en esta producción de la ópera de Wagner grabada en 2015. Protagonizada por Stephen Gould como Tristán y Evelyn Herlitzius como Isolda, el elenco también incluye a Georg Zeppenfeld, Iain Paterson, Raimund Nolte y Christa Mayer.

It has been a long time since the events of Das Rheingold. Wotan has fathered nine Valkyries, warrior women who bring dead heroes to Valhalla (the castle of the Gods). Richard Wagner's dream of a Gesamkuntswerk becomes reality through La Fura dels Baus' visual fantasy and blending of video technology, lighting and props (often formed of human beings): Their 30 computer projections and organic structures built of athletic performers that recall Cirque du Soleil are predestined for Wagner's visionary expressive world.

In the words of the prestigious German weekly 'Die Zeit,' the stage production of Wagner's 'Rheingold' and 'Walküre' by La Fura dels Baus 'quite possibly shows us the path that musical theater will be taking in the future.' There's no doubt about it: the Catalan city of Valencia is setting new accents in 21st-century opera not only with its spectacular new theater designed by Santiago Calatrava, but also with its visually transfixing production of Wagner's 'Ring' staged by Carlus Padrissa and his theater group La Fura dels Baus.

"Die tote Stadt" is a psychologically layered drama with Hitchcock-like features, about Paul who, after the loss of his beloved Marie, slowly but surely becomes entangled in a dream world of obsessions and delusions. This impressive opera is a passionate as well as a surrealistic plea for mourning. "He who cannot live with death has no life."

Both Florez and Diana Damrau brought their bel canto expertise and superb vocalism to the service of Verdi's music. The Rigoletto, Zeljko Lucic, ran the gamut from tenderness with his Gilda to thundering fury with everyone else. I also liked the production. At first, when Rigoletto was putting on his grease paint during the overture, I was afraid that it might be a typical "Euro-trash" production, with a bit of warmed over I Pagliacci. But the sets and dramatic action really served the music and libretto. I would have to say that I came to a deeper understanding and appreciation of the story and characters as a result of seeing this performance.