Our monthly feature
During October, we focus on the here and now, with contemporary music and dance featured in a number of articles. We have spoken to a number of composers and choreographers about their work accross various mediums, and their collaborations with other contemporary artists.
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Strauss R.: Die Frau ohne Schatten
Fabio Luisi; David Pountney; Zurich Opera; Robert Israel; Marie-Jeanne Lecca; Evelyn Herlitzius; Emily Magee
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A revival of the new production of Die Frau ohne Schatten at the Munich Opera Festival brings back four of the principals in a brilliantly sung performance of Richard Strauss' masterpiece.
For an inventive production, fine singing and magnificent orchestral playing, this new Leipzig Die Frau ohne Schatten deserves every success.
Semyon Bychkov gave a reading of such clarity and quality that everything seemed obvious. In his hands, the orchestra was a precision instrument, and for Strauss fans, whether or not you like Claus Guth's staging, this production is a must-see.
The unnecessary celebrations of Richard Strauss’ 150th birthday seem to have begun early at the Metropolitan Opera. Two weeks after this Die Frau ohne Schatten comes Der Rosenkavalier, and a few months after that Arabella. By the standards of Strauss at the Met, Herbert Wernicke’s Frau is still new at only a dozen years old.
Strauss’ Die Frau Ohne Schatten is perhaps his most problematic opera, in that it contains all that is best and worst in him, to the most maddening degrees.