Reality wants augmenting in Daniel Kramer's Die tote Stadt

Nadja Stefanoff (Marietta), Corby Welch (Paul) and ensemble

Mara Guseynova (Marie) and Corby Welch (Paul)

Corby Welch (Paul)

Nadja Stefanoff (Marietta)

Corby Welch (Paul) and Nadja Stefanoff (Marietta)

Par Eleanor Knight, 17 avril 2023

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“a production with all its uncanniness and horror in inverted commas”

Critique faite à Opernhaus, Düsseldorf, le 16 avril 2023

Korngold, Die tote Stadt (The Dead City)

Deutsche Oper am Rhein

Axel Kober, Direction

Harry Ogg, Direction

Daniel Kramer, Mise en scène

Marg Horwell, Décors, Costumes

Peter Mumford, Lumières

Düsseldorfer Symphoniker

Chor der Deutschen Oper am Rhein

Corby Welch, Paul

Nadja Stefanoff, Marietta

Emmett O'Hanlon, Frank, Fritz

Anna Harvey, Brigitta

Anna Sophia Theil, Juliette

Alexandra Yangel, Lucienne

Valerie Eickhoff, Lucienne

Pas encore défini, Gaston

Florian Simson, Graf Albert

Stefan Cifolelli, Victorin

Mara Guseynova, Soprano

Scheitern statt Scheiterhaufen: Die Jungfrau von Orléans in Düsseldorf

Svenja Koch, 9th September

Elisabeth Stöppler inszeniert Tschaikowsky-Rarität als Charakterstudie statt Kriegstableau.

****1

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

Stars and the score shine in The Count of Luxembourg

Ilana Walder-Biesanz, 25th December

Baritone Kay Stiefermann steals hearts at the eponymous Count of Luxembourg, in an operetta so charming that neither musical missteps nor a mixed-up staging can sink it.

***11

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Eleanor Knight

Eleanor is a writer and librettist. Her work has appeared in all kinds of places from the Royal Opera House to the foot tunnels beneath the Elephant and Castle roundabout, and she has written arts reviews and features for British papers and magazines. Having begun her working life in theatre, she switched to publishing and later taught creative writing at the University of Brighton and Birkbeck. Currently based in the Netherlands, she teaches at the University of Utrecht. Eleanor plays violin and sings, though not usually at the same time, and has recently taken up speed-skating.

Reality wants augmenting in Daniel Kramer's Die tote Stadt for Deutsche Oper am Rhein