Attentive to the dynamics and tempi, Frang meshed her violin with the orchestra, naturally coming into the footlights or receding into an accompanying role when required. In effect, the performance had a feel of an improvisation.
A night to remember in Antwerp as Salonen and the Philharmonia demonstrated once again that, in the right hands, familiar repertory can still prove compelling and even surprising.
At its local Antwerp première, David Bösch’s new production of Erich Wolfgang Korngold’s Das Wunder der Heliane makes it the only house ever to have mounted twice.
Overshadowed by its Hanseatic cousin Hamburg, Antwerp recently celebrated the opening of its own new concert hall. In his Symphony no. 2, Wim Henderickx tested the hall's capabilities with a multi-media extravaganza.
The unclear ideas and the excessive blackness in Thalheimer’s concept failed to convince, but Stoyanov and Joel’s presentation of Verdi’s score made up for those problems.
On ne pourra pas dire que l’équipe des metteurs en scène/chorégraphes Sidi Larbi Cherkaoui et Damien Jalet, associée à Marina Abramovic qui signait et le décor et le concept, aient fait dans le conventionnel, offrant une approche à la fois futuriste et rétro de Pelléas et Mélisande.
Christoph Waltz setzt auf blanken Ernst statt Komik – doch ein gutes Solistenensemble, ein solides Orchester und ein Schachzug verhindern eine Falstaff-Enttäuschung.
