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Performer: Simon O'Neill

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BerlinFidelio

Beethoven: Fidelio
Simone Young; Harry Kupfer; Staatsoper Berlin; Hans Schavernoch; Yan Tax; Simon O'Neill; Roman Trekel
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RomeFidelio (concert performance)

Rachel Willis-Sørensen, Simon O'Neill and Sir Antonio Pappano © Riccardo Musacchio & Flavio Ianniello
Beethoven: Fidelio
Sir Antonio Pappano; Rachel Willis-Sørensen; Simon O'Neill; Sebastian Holecek; Günther Groissböck

AucklandTosca

Puccini: Tosca
Tobias Ringborg; Stuart Maunder; New Zealand Opera; Jan Ubels; Elizabeth Whiting; Orla Boylan; Phillip Rhodes
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Søndergård and the RSNO in dramatic Strauss and life-affirming Mahler

Thomas Søndergård © Andy Buchanan

Thomas Søndergård and the RSNO on top form in Strauss’ dramatic Also Sprach Zarathustra, and Mahler’s life affirming Das Lied von der Erde.

****1
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A dreary Katya Kabanova is rescued by great singing at the Staatsoper

Eva-Maria Westbroek (Katya) © Bernd Uhlig (2014)

The Staatsoper Unter den Linden revives Andrea Breth’s desolate production of Janáček’s masterpiece with a great cast led by conductor Thomas Guggeis.

***11
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Michael Volle excels in a Walküre to remember in Berlin

Die Walküre © Monika Rittershaus (2011)
The Staatsoper Berlin celebrate the arrival of Michael Volle, a splendid Wotan, aided by a strong ensemble of singers and Daniel Barenboim's leadership.
*****
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A promising start to Staatsoper Berlin's Ring revival

Das Rheingold © Monika Rittershaus (2010)
Daniel Barenboim led a performance of deliberate tempo with a great ensemble of singers.  Guy Cassiers‘ production, while visually stunning at times, does little to enhance the performance.
***11
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A confidence-building exercise: the Tanglewood fellows in Die Walküre

Christine Goerke and Simon O'Neill © Hilary Scott
Andris Nelsons finishes his 2019 Tanglewood residency on a high note.
****1
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Guth's FroSch arrives at Unter den Linden

Sarah Grether (Weiße Gazelle) and Camilla Nylund (Die Kaiserin) © Hans Jörg Michel (2017)
Guth's incisive staging of Strauss and Hofmannsthal's grandest opera proves a moving and detailed experience at its transfer to the reopened Staatsoper. 
****1
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