A petition was recently started to restore Olivier Keegel's press accreditation by The National Opera. He was denied press passes because he frequently expressed negative views on Pierre Audi's programme choices on the blog Operagazet and in Het Parool. Moreover, he denounced his penchant for "director's theatre", in which, according to him, the content falls prey to a far-fetched...
Anyone wishing to pass through the gates of Thebes must solve the riddle of the Sphinx. Those who fail die an irrevocable death, their bones fading into the charnel field around her. Oedipus challenges her, determined to save the city. 'Name someone or something more powerful than Fate!', oracles the Sphinx from her single-engine plane. 'Man!', jubilates Oedipus. To which.
We have to perform, from an early age. If you don't go along with that, you will be left out. It is the thrust of Alban Berg's opera Wozzeck, now to be seen at De Nationale Opera directed by Krzystof Warlikowski. The Polish theatre innovator has turned one of the most dramatic operas in music history into a fascinating musical...
Austrian bass Günther Groissböck received the biggest applause in Parsifal on Thursday 15 December, for his role as Gurnemanz. A close second was Russian soprano Elena Pankratova. She signed for the vocal part of Kundry, who took shape on stage in the person of assistant director Astrid van den Akker. However, judging by the deafening cheers, the audience was the...
'I feel cheated,' said the man next to me as we left the auditorium at ten to nine-thirty. He had come all the way from Tilburg to the Stopera for the concert that concluded the National Opera's 50th anniversary on Wednesday 29 June. 'It will take me even longer than the concert lasted, including intermission,' he grumbled. He also had little to say about the offering itself. And that while all around us the audience stood on their seats to cheer on the internationally renowned soprano Eva-Maria Westbroek.
For a dramma giocoso, there was precious little to laugh at during a performance of Don Giovanni by De Nationale Opera on Tuesday 10 May. This production, taken over from the Salzburg Festival, is weighed down by a leaden seriousness, exacerbated by the turbo-Mozart presented to us by conductor Marc Albrecht and the Netherlands Philharmonic Orchestra. Despite his often punishing tempi, the...
More than a century we had to wait, but at last Arnold Schoenberg's Gurre-Lieder also to be seen. Surprisingly, it is not. Reportedly, the composer was against it, as it concerns a cantata. However, director Pierre Audi and conductor Marc Albrecht show very convincingly with this scenic world premiere that Gurre-Lieder hid an opera that yearned for the stage light.
Prokofiev's The Player is an hour and a half of theatre, then after the interval it really becomes opera. This is not down to the soloists, not to the direction or sets, and certainly not to the excellent Residentie Orkest conducted by Marc Albrecht. Perhaps the music and libretto are too ingenious, Prokofiev was too faithful to Dostoevsky's book to make it a real opera. And perhaps Andrea Breth is too good a stage director for this opera. "Watch the surtitles especially carefully," she told me just before the premiere, "so you don't miss anything."
Holland Festival
Cowardly knight defeats untalented rule fetishist with help from wise cobbler and wins singing contest and the hand of coquettish goldsmith's daughter. Or: boy meets girl on the streets of Nuremberg and decides to enter the local version of Nuremberg's got talent. The judges send him away, but he gets the audience vote. Wagner wouldn't be Wagner, however, if he didn't take about five hours for this story.
Two years ago he was acclaimed for his staging of A Dog's Heart by Alexander Raskatov, now he is lavishly believed for his production of Mozart's Die Zauberflöte. It premiered last week at The Netherlands Opera and last night too, the sold-out audience responded enthusiastically. Yet the high expectations were not quite met.
Elektra – scenefoto: Hans van den Bogaard De vierde reprise van Elektra door De Nederlandse Opera is over de helft. In de laatste voorstellingen nemen twee verse dramatische sopranen het stokje over. Waarom wordt een opera hernomen, zelfs maar liefst vier keer? Bij de slaapverwekkende Don Giovanni in het vorige seizoen van De Nederlandse Opera – ook al een reprise – was…
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