Aufs Korn genommen: Lampes The Dragon of Wantley beim Musikfest Bremen

The Dragon of Wantley

By Jens Klier, 25 August 2025

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“ein königlicher Spaß”

Reviewed at Staatstheater, Oldenburg on 24 August 2025

Lampe, The Dragon of Wantley

BEMF Dance Company

Gilbert Blin, Director

BEMF Chamber Ensemble

Stephen Stubbs, Theorbo, Baroque Guitar, Director

Paul O'Dette, Theorbo, Baroque Guitar, Director

Teresa Wakim, Soprano

Tessan-Maria Lehmussaari, Soprano

Hannah De Priest, Soprano

Aaron Sheehan, Tenor

Douglas Williams, Bass-baritone

John Taylor Ward, Bass-baritone

Boston Early Music Festival strikes again with a knockout Octavia

Kevin Wells, 8th June

Once again, the BEMF brings a Baroque opera back to life. Reinhard Keiser’s 1705 Octavia is exceptionally well sung, adroitly staged, designed and danced, with impeccable musicianship.

*****

BEMF stages Francesca Caccini's Alcina

Kevin Wells, 10th June

A rare chance to see the first extant opera written by a woman, Francesca Caccini's La liberazione di Ruggiero dall’ isola d’ Alcina.

****1

BEMF presents La serva padrona and Livietta e Tracollo

Kevin Wells, 17th June

A riotous double bill of Pergolesi at the Boston Early Music Festival.

*****

Campra capers: Le Carnaval de Venise

Kevin Wells, 11th June

With Lully’s death in 1687 and Louis XIV’s increasing immersion in religious piety under the influence of Madame de Maintenon, the court ceased to exercise a strangle hold on opera.

****1

BEMF stages Francesca Caccini's Alcina

Kevin Wells, 10th June

A rare chance to see the first extant opera written by a woman, Francesca Caccini's La liberazione di Ruggiero dall’ isola d’ Alcina.

****1

Orfeo ed Eurydice in Seattle... without the happy ending

Philippa Kiraly, 12th January

Seattle Opera’s tiny Tagney Jones Hall hosts a new production of Gluck's opera, but without the happy ending he was forced to provide.

****1

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Jens Klier

Vor seinem Rechtswissenschafts-Studium in Bayreuth und Bonn widmete sich Jens Klier seit frühester Kindheit musikalisch der Violine (Repertoire vom 17. bis 20. Jahrhundert). Während er zudem mit Gesang und dem Leben im Orchesterbetrieb groß wurde, entwickelte sich ein besonderes Interesse an der sogenannten 'Historischen Aufführungspraxis' und authentischen Instrumenten. Diese Leidenschaft hält sich hartnäckig, sodass er sie mit Vorliebe für das Barocke anstatt mit Finger und Bogen nun in Form der Musikkritik zu Gehör bringt. U.a. Telemann-Fan, Liebhaber J. S. Bachs Genies und Entdecker neuerer, seltenerer 'Alter Musik'.