Oper Frankfurt's revival of Richard Jones's production of Billy Budd with a homegrown cast is a devastating combination of powerful music and searing drama.
Camilla Nylund’s rich, ample voice bloomed in the glorious setting of the sonnet, cosseted by burnished horn playing, in Strauss' unsurpassed operatic farewell to the soprano voice.
Debussy's Pelléas et Mélisande is beautifully realised in Claus Guth's now classic production, revived with a new cast of principals at Oper Frankfurt.
Miriam studierte Musik, Germanistik und Philosophie in Köln, Paris und St. Louis. Jetzt promoviert sie am Forschungskolleg "Schreibszene Frankfurt" an der Goethe-Universität über Gegenwartsliteratur. Miriam schreibt für Print und Online über Musik, über Literatur und über ihr ungestümes Erleben von beidem.
Sign in to use alerts, your personal diary/wishlist, to save your recent searches, to comment on articles and reviews or if you want to input events.
Please fill in your email address, then click on one of the two buttons.
