Fruchtbares Opernexperiment

By Saori Kanemaki, 26 April 2015

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Reviewed at Staatsoper at Schiller Theater: Werkstatt, Berlin on 19 April 2015

Krenek, Tarquin (In englischer Sprache mit deutschen Untertiteln)

Max Renne, Conductor

Mascha Pörzgen, Director

Isabel Theißen, Costume Designer

Johannes Gramm, Set Designer

Sónia Grané, Corinna

Stephen Chambers, Cleon, Officer

Maximilian Krummen, Marius

Annika Schlicht, Lab Leader, Reporter

Jonathan Winell, Chancellor, Bruno

Grigory Shkarupa, Archbishop, Tonio

Members of the Staatskapelle Berlin

Reality television: ENO’s Angel’s Bone in Manchester

Lawrence Dunn, 12th May

Kip Williams and ENO mount an extraordinary new production of Du Yun and Royce Vavrek’s multifaceted opera, with performances of great emotional directness broadcast live on camera.

*****

Sir Thomas Allen’s Figaro for Scottish Opera still entertains

David Smythe, 9th May

A traditional Marriage of Figaro entertains with a strong cast, eye-catching design and lighting, and Amanda Holden’s earthy libretto.

****1

Sasha Cooke brings sharp intelligence to Seattle Opera’s Carmen

Thomas May, 8th May

Sasha Cooke’s thoughtful role debut anchors Paul Curran’s visually and musically alert but dramatically uneven production.

****1

Werther oozes quiet despair in new Canadian Opera Company staging

John Gilks, 7th May

Excellent performances cannot turn a conventional production of Massenet’s Werther into a dramatic experience for the 21st century.

***11

Rossini’s Cenerentola proves great fun in Adelaide

Sandra Bowdler, 7th May

Neil Armfield’s production for State Opera South Australia combines a sparkling night of entertainment with first class musical values.

****1

Welsh National Opera’s Dutchman docks in Birmingham

Rohan Shotton, 7th May

This bracing performance of The Flying Dutchman is a powerful reminder of the extraordinary musical standards which are at risk in the face of WNO’s subsidy cuts.

****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.

Fruchtbares Opernexperiment: Ernst Kreneks Tarquin am Schiller Theater