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Performer: Olga Bezsmertna

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MunichFalstaff

Falstaff
Verdi: Falstaff
Pinchas Steinberg; Mateja Koležnik; Bavarian State Opera; Raimund Orfeo Voigt; Ana Savić-Gecan; Wolfgang Koch; Olga Bezsmertna
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Mistrust, rage and colonialism: Otello at the Staatsoper

Aleksandrs Antonenko (Otello) © Wiener Staatsoper GmbH | Michael Pöhn
During the “Salce” and “Ave Maria” in Act Four Bezsmertna turned this to magical effect, thinning out and floating her shimmering soprano into gossamer threads.
***11
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Wretched fates and quirky staging: Eugene Onegin in Zurich

Olga Bezsmertna (Tatyana) and Peter Mattei (Onegin) © Monika Rittershaus
Barrie Kosky’s atypically conservative production of the Russian classic was marked by musical direction and vocal performances of the highest order.
****1
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Cross-dressing abounds: Gluck's Armide

Excellent playing from Les Musiciens du Louvre and a mixed vocal performance are matched by a staging by Ivan Alexandre likely to be controversial.
**111
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Strauss's Die Liebe der Danae returns to Salzburg

Strauss' penultimate opera is treated to a lavish if superficial staging at the Salzburg Festival, but the real rewards come from the musical performance of this unjustly neglected work.
****1
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Sin City meets silent film: Cardillac

Cardillac has a spooky, sinister fascination that both intrigues and horrifies and which is quite successfully expressed in this striking production by Sven-Eric Bechtolf.
****1
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An overthought, underperformed Don Giovanni

Within Mozart’s Don Giovanni, the darkest corners of the soul are exposed by music, stirred up by the lying, lecherous exploits of the aristocratic scoundrel, Don Giovanni.
***11
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