LoveAffairs: The future of music theatre

By Saori Kanemaki, 27 June 2014

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“Hier verschmolzen originelle Ideen elf junger Künstler zu einem revolutionären Musiktheaterabend.”

Reviewed at Deutsche Oper Berlin: Tischlerei, Berlin on 24 June 2014

Bertelsmeier, Die Nachtigall und die Rose

Przybylski, Musical Land

Bertelsmeier, Querelle

Przybylski, Fall

Martin Nagashima Toft, Director

Belén Montoliú, Costume Designer

Lars Unger, Set Designer

Gideon Poppe, Nachtigall

Katarina Bradić, Frauenstimme II, Seblon

Alexandra Schulz, Frauenstimme III, Nono

Ronnita Miller, Frauenstimme I, Mme Lysiane

Jörg Schörner, Männerstimme, Schoenberg, Königin II

Mimi Jeong, Tänzer

Javier Carranza Uribe, Tänzerin

Laila Salome Fischer, Evita

Christina Sidak, Annie, Vic, Mario

Alexandra Hutton, Maria von Trapp, Querelle

Bini Lee, Königin I

Haymarket Opera treats Chicago to compelling Baroque brotherly love

No’a L. bat Miri, 21st June

In a rare performance of Charpentier’s David et Jonathas, Jory Vinikour leads a small ensemble to the heights of religious art music.

*****

The ghost of Maria Callas: Greek National Opera’s Medea at Epidaurus

Anna Bogdanova, 20th June

To rebuild Maria Callas’s 1961 Medea is to invite the cruellest comparisons in opera. For most of a single night at Epidaurus, Greek National Opera withstands it, but then comes the final act...

****1

Three Peters for the price of one: Lortzing's Zar und Zimmermann

Elena Luporini, 20th June

Martin G Berger's new production of Zar und Zimmermann eases the Deutsche Oper Berlin into the summer break, with mixed results.

***11

Grange Park Opera's Ring cycle opens with an excellent Rheingold

Dominic Lowe, 20th June

Launching that most ambitious of endeavours, a Ring cycle, Grange Park Opera's production of Das Rheingold proves a real achievement, led by the superb Alberich of David Stout.

****1

10 Days in a Madhouse receives Canadian premiere

John Gilks, 16th June

10 Days in a Madhouse is a musically and dramatically excellent but disturbing insight into conditions in a women’s asylum brought to life in Toronto by an excellent production.

****1

Galați Cenerentola lights up the Bucharest stage

Peter Quantrill, 15th June

First class young voices and bewitchingly stylised designs shine through the murk at the Bucharest Opera Festival.

****1

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Saori Kanemaki

Saori Kanemaki, geboren in Tokio (Japan), lebt seit 2007 in Deutschland. Von 2008 bis 2014 studierte sie Musikwissenschaft an der Humboldt-Universität zu Berlin. Ihr Schwerpunkt liegt auf der Musik des 20. und 21. Jahrhunderts. Zur Zeit beschäftigt sie sich mit dem Erwerb ihres PhD mit dem Thema Trans- und Interkulturalität in der Neuen Musik.

The younger generation assures the future of music theatre with LoveAffairs