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Performer: Christine Mielitz

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DresdenLa bohème

Puccini: La bohème
Daniele Callegari; Christine Mielitz; Dresden State Opera; John Fiore; Speranza Scappucci; Peter Heilein

DresdenLa bohème

Puccini: La bohème
Daniele Callegari; Christine Mielitz; Dresden State Opera; Pietro Rizzo; Antonino Fogliani; Peter Heilein

DresdenFidelio

Beethoven: Fidelio
John Fiore; Christine Mielitz; Dresden State Opera; Peter Heilein; Stephen Gould; Burkhard Fritz
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Anna Netrebko's dream Elsa in Dresden Lohengrin

Anna Netrebko (Elsa) and Piotr Beczała (Lohengrin) © Daniel Koch
Anna Netreboko chose to perform her first Elsa in Dresden with Christian Thielemann conducting.  It was a remarkable performance never to be forgotten.
*****
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Otello at the Vienna Staatsoper a night of excellent singing, regrettable staging

There were some not-to-be-missed performances last evening in Verdi’s Otello at the Staatsoper.Dmitri Hvorostovsky is a god amongst men whose interpretation of Iago, Otello’s villainous ensign, was completely on the mark. Resplendent in his white ponytail, black leather and tattoos, he completely embodied the treacherous scoundrel bent on Otello’s destruction.
***11
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La bohème at the Dresden Semperoper

In his whole career as an opera composer Puccini only wrote one pure comedy, Gianni Schicchi, and even that forms part of his trilogy Il Trittico, of which the other parts could hardly be more tragic. However, La bohème is also a comedy in its own way, a comedy cut short by tragedy.
***11
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Fidelio an enduring ode to freedom in Dresden

The Dresden Semperoper premiered a new production of Fidelio scarcely a month before the fall of East Germany. Much has changed in the intervening decade and a bit, but the Semperoper is still playing the same Fidelio. It doesn't take much knowledge of recent German history to understand why it was a sensation at the time.
***11
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Lera Auerbach's Gogol: a world premiere at the Theater an der Wien

Before writing a note of Gogol, composer Lera Auerbach immersed herself in the writer’s complete works and over twenty books written about him. It would take similar efforts to begin to understand this opera: taking us inside the fevered mind of its title character, Gogol is less a biographical narrative set to music than a phantasmagorical, psychological investigation.
****1
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