Croc work: Siegfried teases at Bayreuth

Por Matthew Rye, 31 julio 2016

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“Catherine Foster’s Brünnhilde was glorious in its tonal allure”

Crítica hecha desde Bayreuther Festspielhaus, Bayreuth el 29 julio 2016

Wagner, Siegfried

Marek Janowski, Dirección

Frank Castorf, Dirección de escena

Aleksandar Denić, Diseño de escena

Adriana Braga Peretzki, Diseño de vestuario

Stefan Vinke, Siegfried

Andreas Conrad, Mime

John Lundgren, Der Wanderer

Albert Dohmen, Alberich

Karl-Heinz Lehner, Fafner

Nadine Weissmann, Erda

Catherine Foster, Brünnhilde

Ana Durlovski, Waldvogel (the woodbird)

Bayreuther Festspielorchester

Rainer Casper, Diseño de iluminación

Faust an der Wiener Staatsoper: Castorfs fulminantes Bühnenspektakel

Snapdragon, 29th May

Eine temporeiche Inszenierung und eine starke Besetzung – Gounods Faust war noch nie so kurzweilig. Chapeau!

*****

Staatsoper Hamburg's new Boris Godunov traverses Russian history

Alexander Hall, 16th September

Opening the new opera season, Kent Nagano powerfully directs Mussorgsky's great psychodrama about a famous tsar, marred only by Frank Castorf's visually confusing and symbolically overweighted production.

****1

Méphistophélès steals the show in Staatsoper's Faust

George Jahn, 4th November

Adam Palka shines as the devil in this revival of Frank Castorf's multimedia staging that relocates the work to mid-20th century Paris, around the end of the Algerian War.

****1

Gounod in the Time of Corona: Frank Castorf's many-layered Faust

Chanda VanderHart, 29th April

Faust and Méphistophélès pal around like buddies in Castorf's multi-media staging, the devil here less diabolical and more anarchistic party-boy.

****1

Wärmespendende Braunfels-Oper nach 100 Jahren wieder in München

Michael Klier, 5th November

Frank Castorf zeigt mit Braunfels Die Vögel eine leuchtende Inszenierung an der Bayerischen Staatsoper.

****1

Verdi Wars: Frank Castorf’s Forza del destino at Deutsche Oper

Hugo Shirley, 14th September

Audience uproar brings a much needed sense of theatre to a disappointing production of Verdi’s middle-period epic.

**111

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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).