Baroque bawdiness at Komische Oper Berlin

Por John Johnston, 18 febrero 2018

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“Junghänel conducted with rhythmic vigour, the players responding with crispness and colour”

Crítica hecha desde Komische Oper Berlin, Berlín el 17 febrero 2018

Handel, Serse (Xerxes)

Komische Oper Berlin

Konrad Junghänel, Dirección

Stefan Herheim, Dirección de escena

Heike Scheele, Diseño de escena

Gesine Völlm, Diseño de vestuario

Stephanie Houtzeel, Serse

Franziska Gottwald, Arsamene

Ezgi Kutlu, Amastre

Nina Bernsteiner, Romilda

Nora Friedrichs, Atalanta

Philipp Meierhöfer, Ariodate

Hagen Matzeit, Elviro

Chorsolisten der Komischen Oper Berlin

Orchester der Komischen Oper Berlin

Handel’s Belshazzar at Komische Oper Berlin

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The Baroque confectionery of Herbert Fritsch's production of Handel's oratorio belies a serious core which is all too close to today's headlines.

****1

Barrie Kosky directs a ferocious new Lady Macbeth of Mtsensk

Zenaida des Aubris, 31st January

Shostakovich's opera is laid bare in Berlin, to devastating effect, with a distinguished cast led by Ambur Braid.

****1

Masks and obsessions: Evgeny Titov’s Salome at Komische Oper Berlin

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Salome is faceless and the Dance of the Seven Veils becomes a sardonic commentary on seduction in Komische Oper Berlin's austere new staging.

****1

Opulent minimalism: Kosky directs a new staging of Akhnaten

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Barrie Kosky's new production of Philip Glass' Akhnaten for Komische Oper at the Schillertheater removes any egyptological references.

****1

A blade too dull: Kosky directs Sweeney Todd at Komische Oper

Elena Luporini, 17th November

With a brand new production by Barrie Kosky, Komische Oper Berlin's first venture into the Sondheim repertoire mostly falls flat.

**111

Kirill Serebrennikov’s Marriage of Figaro challenges Edinburgh

David Smythe, 16th August

Komische Oper Berlin's The Marriage of Figaro is staged at the Edinburgh International Festival with a strong cast headed by Penny Sofroniadou and Peter Kellner.

****1

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John Johnston

John Johnston was a contributor to Bachtrack 2017-19. John was a true gentleman and lifelong opera "nut" who frequently travelled across Europe to catch performances, making regular pilgrimages to the Bayreuth Festival among others. His supreme knowledge and appreciation of voices meant he took to reviewing like the proverbial duck to water. We enjoyed his style and his insatiable appetite for catching rare operas and new productions wherever he could.

Periwigs and a plane tree: Baroque bawdiness at Komische Oper Berlin