A powerful Fiery Angel in Düsseldorf

Por Matthew Rye, 17 octubre 2015

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Crítica hecha desde Opernhaus, Düsseldorf el 16 octubre 2015

Prokofiev, El ángel de fuego

Deutsche Oper am Rhein

Wen-pin Chien, Dirección

Immo Karaman, Dirección de escena

Aída Leonor Guardia, Diseño de escena

Fabian Posca, Diseño de vestuario, Coreografía

Svetlana Sozdateleva, Renata

Susan Maclean, Mother Superior

Renée Morloc, Sorceress

Sergei Khomov, Agrippa van Nettelsheim, Mephistopheles

Florian Simson, Jakob Glock

Sami Luttinen, Faust

Torben Jürgens, Mathias

Boris Statsenko, Ruprecht

Volker Weinhart, Diseño de iluminación

Chor der Deutschen Oper Berlin

Düsseldorfer Symphoniker

Scheitern statt Scheiterhaufen: Die Jungfrau von Orléans in Düsseldorf

Svenja Koch, 9th September

Elisabeth Stöppler inszeniert Tschaikowsky-Rarität als Charakterstudie statt Kriegstableau.

****1

Reality wants augmenting in Daniel Kramer's Die tote Stadt

Eleanor Knight, 16th April

What's a director to do while we wait for technology to catch up with the complexities of the human condition?

***11

Boris Blachers ausdrucksstarker Romeo und Julia in Duisburg

Michael Vieth, 17th April

Unter fast 40 Romeo-Vertonungen die wohl kürzeste: aus Blachers Komprimierung von Shakespeares Tragödienstoff zieht die Duisburger Neuinszenierung intensive Überzeugungskraft.

****1

Kunst als Widerstand: Der Kaiser von Atlantis in Düsseldorf

Alexandra Richter, 19th September

Die Deutsche Oper am Rhein inszeniert ein wichtiges Werk des in der NS-Zeit verfolgten Künstlers Viktor Ullmann.

****1

Duisburg’s Don Carlos rescued from a devastating deluge

Brian Angus, 17th May

What do you do when 80 tonnes of water flood your theatre, your sets and costumes? Rescue, reshape and present what you can. That’s what Deutsche Oper am Rhein have had to do in Duisburg.

***11

All the world's a stage: Xerxes as a comedy of backstage rivalry

Matthew Rye, 17th January

A revival of Stefan Herheim's production of Handel's Xerxes in Düsseldorf makes for a rip-roaring evening of theatrical comedy.

****1

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Matthew Rye

Matthew read music at Oxford and worked in music journalism for 30 years as a writer, critic and editor. He wrote numerous programme and CD booklet notes, spent 13 years as a Daily Telegraph critic, worked at BBC Music Magazine and was reviews editor of The Strad. He also wrote for The Wagner Journal and Opera and blogged at ferneklang.blogspot.co.uk. He was general editor of 1001 Classical Recordings You Must Hear Before You Die (Cassell Illustrated, 2007) and was the author of a new series of eBooks, Masterpieces of Music (Erudition).

All in the mind: a powerful Fiery Angel in Düsseldorf