La Sonnambula Crowns Nadine Sierra as new Liceu Queen

Claus Guth created this production of Strauss/Hofmannsthal’s The Woman without Shadow (Die Frau ohne Schatten) 2013 for La Scala. After later shown at Covent Garden, London it is now being staged at the Berlin State Opera as part of the Easter Festival 2017, scenic rehearsal by Julia Burbach. Contrary to other concepts with directors elevating the over-mystified, ferry-tale like plot into full abstraction (Loy for Salzburg or Ponnelle for Cologne many years ago), Guth and...

A dramatic conception that was complex to decipher and perhaps even polemic, a surprising and spectacular visual coldness and a totally convincing musical resolution were the three main axis of the performance of Rigoletto presented by Liceu. It is difficult to dramatically face the great titles of the repertoire because it is a matter of finding the right balance between redundancy and extravagance, two extremes that are both artistically sterile. In this production of the Verdian...

George Frideric Handel’s twenty year long domination of London opera began in 1720 with Radamisto, meaning that Partenope, which appeared in 1730, was at the midpoint of this golden period. The opera was extremely well received on its premiere, but it is about as far removed from opera seria as any of the composer’s works, and presents a challenge to any director who wishes to make sense of such a far-fetched story. English National Opera, however, has long been known as...

Many Wagner fans will rank Die Meistersinger von Nürnberg as one of their favourite works of all time, but the real measure of its strength is that many an opera-goer who normally avoids Wagner like the plague will make a special exception for Die Meistersinger. Unlike virtually all of the composer’s other mature works, it is not about gods, grails, rings and potions, but rather flesh and blood human beings. By exposing all of the foibles and frailties of this strangest of...

Any world premiere at one of London’s major opera houses is an exciting occasion, but Ryan Wigglesworth’s The Winter’s Tale was especially so given that it is based on a Shakespeare play that has seldom undergone the operatic treatment. There have been around a dozen works based upon the piece, including Max Bruch’s Hermione, Carlo Emanuele di Barbieri’s Perdita, ein Wintermärchen and John Harbison’s The Winter’s Tale, but that is a paltry...

Composer Luca Francesconi clarified the purpose of his piece to journalist Tom Service (The Guardian 19/06/2014) for the premiere of his opera Quartett in London in 2014: Don’t dare to come if you can't accept that you need to analyse what you do and who you are. This piece is violent, it’s sex, it’s blasphemy, it’s the absence of mercy. The only two characters in the opera are the definition of cynical, they have made a pact that they don’t have to...