Fairytales often speak directly to our unconscious, revealing drives and truths that are not always apparent to our conscious selves. It is therefore not surprising that many tales are replicated across countries and cultures, even if the characters and details vary. The Slavic fable of Rusalka, for example, has counterparts with the French Melusine, Germanic Nixie and numerous others, including, most famously, Hans Christian Andersen’s ‘The Little Mermaid.” Although Rusalka is a simple story of a water nymph who relinquishes the power of speech so that she can become human to be with a prince with whom she has fallen in love, her motivations lie deep within the unconscious, taking in sexual awakening, resentment and a desire to return to an innocent state, and it was these aspects of the narrative that the director, David Radok, wished to explore.

A Journey Into the Unconscious

Although it is not a unique nor a particularly profound reading, Radok’s presentation, for which he also designed the scenery, was hugely successful. Not only did he capture the full dramatic and emotional dimensions of the work, but his ability to convey the drama within the context of Rusalka’s unconscious motivations was expertly rendered and allowed the audience to fully engage with his interpretation.

Act one opened to a stage that blended a large room in a house with windows and doors in a watery blue-grey colour with wooden walkways and reeds as would be found in a marshy area, and that stretched from inside the room to the outside world. This was Rusalka’s world; it was secure and safe, in which the walls represented the borders between the known and unknown, between innocence and knowledge. Rusalka, like many a teenager, was desperate to open the doors, to leave the secure and safe world behind, and to explore what else exists; the prince provided the impetus that awakened her sexual desires and thus set her on the path. Unfortunately, that door opens in only one direction; innocence is not something that can ever be regained.

Act two takes her into a world of luxury and frivolity, of betrayal and lust. It is a complex world of suffering, illusion and disappointment. Radok’s staging was brilliantly conceived to create the impression of wealth through chandeliers and the façade of a mansion and an outdoor area dedicated to dancing. He also ensured that Rusalka’s disillusionment was clearly portrayed through her detached meanderings between the dancers and attempts to find a way out through the dense undergrowth that surrounded the dancing area.

Act three finds her back in her original room, but everything has changed. The roof is leaking, and the plants are dying; everything looks to be in a state of decay. No longer human, but neither a nymph, she allows her resentment for the outside world to grow and retreats into her watery world, shuts the doors, and closes the shutters on the windows, but it is not innocence that she finds, only isolation.

It was a reading that fitted sympathetically with the surface fairytale narrative, with each complementing the other to provide a layered and satisfying staging. Radok also ensured that the visual presentation was sensitively developed to draw out the dramatic significance of the events and to manage the tensions. The costume designer, Zuzana Ježková, created a series of costumes that set the characters in the Victorian period, detailed to reflect the characters’ natures. The Water Goblin appeared slimy and unkempt in old blue and grey coloured garments, while the three wood sprites were in greeny blue, light shifts. Jezibaba’s blue and grey costume gave her the appearance of a matron or nanny figure. All appeared as if water was their natural habitat. The Prince and Princess, on the other hand, definitely came from the civilized human world and were dressed as wealthy Victorians of high status. It was the costumes of the chorus for the ballroom scene that really stood out. They were all attired in black with top hats, including the women, which gave them a sinister appearance; they were certainly not benign, nor did they act in a manner sympathetic towards Rusalka. The two worlds, the human and nonhuman, were visually clearly divided. Rusalka’s changing costumes reflected her movement between the two worlds but always in a way that ensured she appeared different from those around her.

Ivanović Oversees a Musically Engaging Performance

It was also a reading that complemented the score perfectly, which the conductor Marko Ivanović sensitively brought to life with the Janáček Opera of the National Theatre Brno. The pace and dynamic contrasts were carefully judged to support the onstage drama, if on occasions slightly understated, while the dance episodes were lively and graceful. It was also a reading that caught the beauty of the score.

Soprano Jana Šrejma Kačírková produced an emotionally compelling performance in the role of Rusalka. As the young and innocent water nymph, she was headstrong, rebellious, and yearning for love that she convincingly captured with a vocally expressive presentation, which she convincingly transformed into an insecure, bewildered and downtrodden young woman, before finally returning to the watery depths, hollowed out by her experience with humans.

Kačírková possesses a secure, resonant voice, which she uses with considerable skill to present emotional states, in which her pleading with her father and then with Jezibaba were particularly well developed as she coated her voice with longing and desire overlaid with an insistent determination to get her own way. There is also a pleasing energy in the voice so that even when singing in a more subdued manner, you could sense a restless spirit ready to explode at any minute. Her ability to move the voice freely enabled her to capture Rusalka’s disoriented state in acts two and three as she moved her voice flexibly across the range, with neatly placed accents and dynamic contrasts that expertly caught her pain and grief. It was, therefore, slightly disappointing that her rendition of the showpiece aria, “Song of the Moon,” did not really take flight; it was pleasant enough, and she allowed her emotions to strengthen as the aria progressed, but overall, it was too understated to convince.

Tenor Peter Berger made an excellent impression as the Prince, whom he played as a weak-willed and frivolous character, totally at the mercy of his fast-changing passions. Even as an old man, when he returns to Rusalka, full of remorse, to ask her forgiveness, he readily accepts her kiss that he knows will kill him. It appeared as the easy way out rather than an expression of deep love, despite his passionate pleading. Vocally, it was a role that seemed to suit him almost perfectly. He possesses a voice with a passionate, sweet-sounding tone that moves securely and with agility across the range, allowing for a lyrically strong performance, which he delivered with confidence and emotional force.

Vodnik, the water goblin, was given an engaging yet not wholly sympathetic reading by bass Jan Štáva. He was suitably anxious about and supportive of his daughter Rusalka but was abusive and sexually aggressive towards the wood spirits. His singing had a determined, even fierce, quality that gave him an imposing demeanour. Although certainly not lacking in beauty, his crafting of the vocal line was focused on promoting the meaning of the text, which he furnished with emotional honesty.

Soprano Eliška Gattringerová was thoroughly dislikable as the Foreign Princess. She was cynical, vicious and served only her own interests. Her voice had a harsh, strident edge, which she used forcefully and energetically to assert her will over both the Prince and Rusalka, whom she treated as an inferior.

Mezzo-soprano Václava Krejčí portrayed the witch, Jezibaba, as hard, unforgiving and cold, and treated Rusalka with total contempt. She possesses an agile, secure voice over which she exhibits excellent control, which she used to create a compelling vocal portrayal that captured her vicious and opportunistic nature. Her forceful response to Rusalka’s pleading in Act three was expertly rendered as she spat out her lines full of bile, which also showed off its nuanced colouring.

No attempt was made by Radok to hide the fact that the three wood spirits were based on Wagner’s Rheinmaidens; if anything, it appeared he wished to draw attention to the fact. With their greeny-blue costumes that evoked connections with the watery depths and their playfully cruel taunting of the Water Goblin, one could so easily have mistaken it for the opening scene of “Das Rheingold.” Played by soprano Doubravka Novotná, and contraltos Ivana Pavlu and Monika Jägerová, they acted their parts as a group, yet each managed to maintain an individual identity.

Baritone Tadeáš Hoza gave a solid performance as the Hunter.

The choir of the Janáček Opera of the National Theatre, under the direction of Pavel Koñárek, produced an energetic and beautifully sung performance, played out the dance routines wonderfully, and acted out their Act two roles convincingly to create an oppressive, even threatening presence.

Overall, it was a high-quality presentation, for which Radok must take a large share of the credit. It was an imaginative and dramatically convincing reading, which in no way is meant to belittle the contribution made by the orchestra or the singers, who all gave strong performances and made it the most successful of the four operas I reviewed at this year’s festival.

The post Janáček Brno Festival 2024 Review: Rusalka appeared first on OperaWire.

Britten’s “Peter Grimes” is a director’s dream.

Who is Grimes? It is certain he is a loner; an outsider and a social misfit open to fits of temper. Yet there is also a sensitive side to his nature that comes out intermittently throughout the opera, notably in his aria “Now the Great Bear and the Pleiades” and in the reflective passage, “In dreams I’ve built myself some kindlier home.” Undoubtedly, he is a deeply layered and ambiguous figure, but is he capable of murder, sadism or worse? And what of the other characters in the story, particularly the people of the Borough, who come together as a crowd with a single intent: do they have any responsibility for the boy’s death and for accentuating Grimes’ dysfunctional behavior?

The options open to the director, which fall between the two extremes of Grimes the victim and Grimes the murderer, are manyfold, and over the years they have offered up many different and interesting interpretations.

Grimes Versus the Crowd

The director, David Radok, took a largely unambiguous approach. For him, Grimes is a victim who is unable to deal successfully with the pressures of the Borough’s intolerant, inward-looking and small-minded populace. When his apprentice, John, falls to his death in Act two, Radok makes it very clear that Grimes is innocent of his death and shines the light of blame directly onto the mob. Startled by the noise of the crowd approaching his house, he turns and lets go of the rope holding John as he climbs down the cliff, who falls to his death. Of course, he does not portray Grimes as wholly innocent; his violence, his inability to control his temper and his disinterest which verged on contempt for the community, were all clearly on view. By comparison with many other productions, however, he was a far more sympathetic character. And why not? Britten’s sympathies with Grimes are clearly evident in the music.

The tenor Joachim Bäckström produced a first-rate performance in the role and successfully captured Grimes’ sensitivities. He often came across as noble and reflective, which made his violent and coarse outbursts appear disjointed and wild, although never gratuitous. Rather, they were born of his frustrations, resulting from his inability to connect with and understand the wider community, and crowds do not take kindly to such people!

At least, the audience had little problem sympathizing with Bäckström’s Grimes, which made his assault on Ellen all the more shocking and dramatically pungent. Moreover, it was very difficult to believe that he had murdered any of the boys. The impression was reinforced by the beautiful and tender expressivity that Bäckström was able to imbue the vocal line, in which his own suffering, frustrations and sense of non-understanding were clearly wrought. His singing of “Now the Great Bear and the Pleiades” was sung in complete isolation in the pub, full of people. While the perplexed crowd looked on without any comprehension whatsoever of what Grimes was saying, he gave voice to his thoughts, totally unaware of their presence. It was a fine moment that showed off his sensitively crafted phrasing and pleasing timbre to good effect.

Radok’s treatment of the crowd, however, was unsympathetic. Clearly identifying it as the source of the problem, he took every opportunity to portray their intolerance, and the pressures they exert, on all around them to conform to their prejudices, values and views. He used their physical presence to menace people, and it was not just Grimes who fell victim; anyone who stepped outside the prescribed limits would be targeted. The well-meaning Ellen Orford was subjected to its rough treatment as they surrounded and closed in on her space, intimidating her for not sharing its view of Grimes. Mrs. Sedley was mocked by the crowd, not because of her vicious tongue or hypocrisy, but because she thought the pub and its customers were below her. There was no ambiguity in its part in the drama; if it were not for the crowd, John would not have fallen to his death.

His interpretation was supported by the chorus-master, Pavel Koñárek, who led the Janáčkovy Opera Chorus in a brilliantly sung performance that highlighted both its sentimental nature and its vicious intent, particularly in the Act three chorus “Who holds himself apart,” where they faced the audience and cried out “Peter Grimes” again and again with increasing ferocity.

Grimes’ Clearly Defined Relationships

Likewise, Radok’s portrayal and development of the other characters and their relationships, especially between Grimes and Ellen and Grimes and Balstrode, were expertly crafted to carry the narrative in a clear and dramatically strong manner that highlighted his interpretation.

Does Grimes love Ellen, or does he see her simply as a means of salvation? There was little on Grimes’ part to suggest any real love, but Jana Šrejma Kačírková’s Ellen was clearly committed to him. She stood up for him against the crowd; she suffered when she realized that Grimes was beating John; and her cry of pain when she understood that Balstrode was asking Grimes to take his own life was spine-chilling. It was an exceptionally strong performance that captured the roller coaster of her emotions. Moreover, her voice was perfect for the role. Her singing was secure, agile and expressive, topped by a beautiful, silvery upper register that positively shone. Even in the most dramatically intense moments, she sang without any sense of vocal anxiety. Her aria “Glitter of waves and glitter of sunlight,” sung against a choral background of parishioners in the church, not only showed off the tonal beauty of her voice and her delightful phrasing, but also its wonderful dexterity. Her confrontation with Grimes, which immediately followed, confirmed the quality of her expression as she articulated her concerns and inner conflict, in which her voice rang out, drenched with emotional strength.

Baritone Svatopluk Sem was an unsentimental, practical Balstrode who dealt fairly with Grimes, but who was more interested in bringing stability to the Borough. His singing was resonant, secure and forthright, successfully conveying the impression of a person of good standing within the community. His exchanges with Grimes were direct and explicit, clearly displaying that he felt no personal animosity towards him, but neither did he shirk from saying what he believed to be necessary.

The Borough’s gossip, Mrs. Sedley, was essayed by contralto Jitka Sapara Fischerová, who provided a compelling characterization that drew heavily upon the stereotype. She was a real busy body, always around, listening to and judging; nothing escaped her prying eyes. She sang with a great deal of versatility as she moved her voice effortlessly in order to capture a range of negative traits; sometimes she sounded haughty and hypocritical, at other times she coated the voice with a vicious curl, yet she always sounded judgmental.

The role of Auntie is based firmly on the traditional image of the pub landlady. She has to be cheerful, strong-willed and able to roll with the banter of the customers. It really needs to be played as a stereotype to work effectively. Unfortunately, mezzo-soprano Jana Hrochová did not quite capture the stereotype, and the character fell a little flat. She was not helped by her poor pronunciation of English. Musically, she sounded strong.

Baritone Jiří Hájek gave a nuanced performance as the apothecary Ned Keene, which allowed the character to move beyond the stereotypically loud-mouthed showoff by highlighting his intelligence and fundamental decency. His singing was secure and resonant, and his English intonation was excellent.

Bass Jan Štáva made an excellent impression in the role of Swallow. Possessing the necessary gravitas for the role, he sang with the necessary confidence and certainty for his position as a lawyer and as a man of authority. His voice has a pleasing, rounded quality, which he used expressively to bring the character to life.

The two nieces were played by sopranos Andrea Široká and Tereza Kyzlinková. As is normally the case, they acted out their part as a pair, both supporting and sparking off each other. They were frivolous and provocative, flirtatious and coquettish. Both gave solid singing performances.

Bob Boles is the typical religious hypocrite. All is correct on the surface, but after a few drinks, he is aggressive, lecherous and opinionated. Tenor Vít Nosek gave a convincing, animated performance, playing up all his character’s negative traits. He was a splendid drunk.

Bass David Nykl produced a strong, secure and confident reading of Hobson, while tenor Petr Levíček convinced as the weak-willed and ineffectual Reverend Horace Adams.

Yet what were we to make of the boy, John? He was certainly afraid of Grimes and did not want to be in his presence. Grimes did beat him; that much is certain. But was it possible to read more into this than just the reactions of a fragile child who finds himself in strange surroundings without anyone to turn to? This was a question that was left hanging and was probably the most ambivalent part of Radok’s interpretation.

A Strongly Designed Staging

Radok, who was also responsible for the scenery, created a set that was dominated by the sea. Across the back of the stage was a seascape, which changed in accordance with the lighting, sensitively designed by Přemysl Janda. As the tensions of the Borough rose and the mists blew in, the set darkened, and the sea became more menacing. It was a marvelous idea that acted on a number of levels: it successfully created the necessary claustrophobic atmosphere and reflected the depth and changing passions of Grimes, but it was also aesthetically pleasing in itself. A rail ran in front of the sea to create a promenade where the citizens of the Borough congregated, creating a sense of shared experience penned in by the sea.

The pub scene in Act one was carefully constructed so that as the storm raged, the people of the Borough, who have been forced to seek refuge inside, are constantly battling to keep the doors and windows closed and into ever closer contact with each other, allowing their shifting emotions to connect to the rising and falling of the storm.

Zuzana Ježková‘s costumes were taken from the mid-20^th century and neatly designed to reflect the characters’ roles and personalities. They sat sympathetically against Radok’s scenery and helped create a visually strong presentation that supported the connection between the narrative and psychology of Grimes and the crowd.

The conductor Marko Ivanović took a similar interpretation to that which he employed for Brno National Theatre’s production of “Salome,” in which he focused on promoting the dramatic nature of the work. He elicited strong dynamic contrasts from the Orchestra Janáčkovy Opera and sensitively managed the tensions over the course of the scenes to meet the needs of the onstage drama. It was a musically exciting reading with a strong forward momentum. And the second sea interlude was absolutely superb; it was certainly the best reading that I have heard. On the negative side, however, the textures were not always well-balanced. Individual sections would occasionally stand out in rude fashion and compromise the atmospheric effect. There was also a tendency to cut short the line in slower passages when it could have been extended to give the sound a deeper, fuller body.

Overall, this was an impressive production. The singing was excellent, the orchestral sound was dramatically strong and Radok’s reading was clearly focused to bring out the strength of the narrative, albeit one that downplayed many of the ambiguities that lie within the work, particularly in the case of Grimes himself, who was presented as the victim of the mob. It was, nevertheless, a captivating presentation, one that kept the audience engrossed throughout the evening.

The post Brno National Theater 2023-24 Review: Peter Grimes appeared first on OperaWire.

(Photo: Marek Olbryzmek)

Linda Ballová’s Stunning Performance

For the Brno National Theatre’s production, it was the relatively unknown Slovakian Linda Ballová who was cast in the role, and the initial impressions were not particularly encouraging. She entered the stage dressed in an insipid green dressing gown, which did absolutely nothing to help her stand out from those about her, and her voice, although technically correct, lacked presence. This proved to be only a short teething problem, and her performance soon developed into a captivating, dramatically powerful interpretation.

Her major confrontation with Jochanaan was expertly crafted to bring out the complete lack of any connection between them. He has nothing but contempt and hatred for her behavior, while she is obsessed with his lips. They barely listened to each other’s words while voicing their own feelings. Ballová’s construction of the vocal line was expressively strong; her colorful and dynamic inflections were brilliantly woven into her presentation, adding depth and strength to her emotionally extreme delivery. It also allowed her to display her vocal agility as she moved the voice freely and securely, climbing smoothly and forcefully into her upper register while soaring above the orchestra, spinning out beautifully long lines, and indulging in audacious leaps underpinned by her frustrations and emotional excess.

She was always attentive to Salome’s state of mind, both in the way she acted out the part and in the nuance with which she engaged with the vocal side of her performance. When Herod tries to persuade her not to go ahead with her demand for Jochanaan’s head, the ice-cold tone with which she was able to imbue the words “Gib mir den Kopf des Jochanaan,” as she stood impassively gazing out towards the audience, was chilling.

“Ah! du wolltest mich nicht deinen Mund küssen lasse” was performed sitting alone at the front of the stage, her face and clothes covered in blood. Her rendition was emotionally overwhelming, as she poured everything into it. The contrasts she was able to bring to the piece were fascinating and captured her mental disconnection with reality. The voice moved calmly and sprang forth erratically without missing a heartbeat. Her ability to hold the line as the voice meandered in different directions was superb, and the consistent quality of the voice as she soared above the orchestra was simply wonderful.

A Strong Cast Throughout

Jaroslav Březina was a weak, pathetic Herod, who was at the mercy of his lecherous passions, which he voiced with a wanton and lascivious fervor, showing off his expressive, high-flying tenor to good effect. He also successfully highlighted his common origins with his crude and unsophisticated behavior and dress. During Salome’s dance, he stared leeringly, overcome with lust and totally incapacitated. Although he operated well outside the normal moral framework, Salome’s demand for the head of the prophet was too much for his fragile mentality, which he expertly captured in his desperate, pleading tones as he begged Salome to reconsider before eventually collapsing in a heap. It was a role that appeared to suit Brezina well.

Herodias is a great role for any female singer wishing to show off their acting skills, and I doubt there have been many as compelling as that of Eva Urbanová. Hers was a Herodious, who had descended into a psychological abyss in which the normal rules of acceptable behavior had long since been abandoned. She had a disdain, verging on contempt, even hatred, for her husband, Herod, attacking him on every possible occasion, brilliantly intoning the line with unconcealed malice. But it was her transformation into an eerily calm, almost contented observer that sent a chill down the spine. As Salome writhed around the stage with the head of Joachannan and Herod lay motionless in the corner, she sat eating a healthy-looking salad, completely untroubled by the horror unfolding around her.

Baritone Birger Radde created a strong impression as the intolerant and intense Jochanaan, successfully capturing the certainty and fervor of his faith. His voice possesses an attractive timber. It is secure, firm and well-grounded, and when singing from his imprisonment in the cistern, he was able to project his voice so that it rang out, his authoritative and defiant tone echoing resonantly across the stage. When Salome demanded to see him, he was defiant and dismissive, barely even bothering to look at her, coating his voice with scorn and contempt to the point that his disgust for her was palpable; not that this bothered Salome, who became more entranced by him.

The tenor Vít Nosek added to the instability of the situation with his effective portrait of Narraboth. Suitably besotted, he could not keep his eyes off Salome, but his jerky physical actions gave the impression of someone who had lost control. His suicide was excellently staged; no one even noticed and certainly didn’t care. Vocally, he was secure and captured his character’s mental instability successfully.

The five Jews, played by tenors Zbigniew Malak, Pavel Valenta, Petr Levíček, Michael Robotka and baritone Kornél Mikecz, were an energetic and noisy bunch, arguing animatedly with each other.

The minor roles were all given strong performances. Mezzo-soprano Jana Hrochová produced a clearly defined reading of Herdodes’ page. Bass Josef Škarka convinced in the roles of the first Nazarene and first soldier; tenor Zoltán Korda was a worthwhile second Nazarene; bass David Nykl was convincing as the second soldier and the Capadocian; and mezzo-soprano Jitka Zerhauová gave a tidy interpretation of the Slave Girl.

The conductor, Marko Ivanović, produced a mixed reading from the Janáčkovy Opera Orchestra. On the positive side, he captured the dramatic side of the score perfectly and was sensitively attuned to the onstage action. It was also a vibrant performance that successfully brought out the dynamic contrasts to good effect and ensured the overall arc of the music was well-managed. However, he failed to highlight the musical contours, especially in the early scenes; the motifs, which give the music a Middle Eastern feel and conjure up the warmth of the desert, slipped by, so that the heat and the sultry atmosphere were largely missed. Fortunately, this aspect of the performance improved over the course of the opera.

Director David Radok’s Clear Characterizations

The director, David Radok, did a brilliant job in delving deep into the cores of the characters in order to build nuanced yet well-defined personalities, even in the cases of the minor roles, to uncover their mental instabilities, which he then highlighted through imaginative devices, ranging from Narraboth’s physical movements to Herodias’ calm demeanor as she ate supper while Salome writhed around on the floor with Jochanaan’s head. The overall result was a completely bizarre environment in which anything was permissible, provided the person possessed the necessary power.

The scenographer, Dragan Stojčevski, created a single set consisting of an all-black stage with a window at the back, opening onto a room in the palace where Herod’s birthday celebration was taking place. In the front, to one side, there was the cistern with a metal cable to raise and lower Jochanaan. Together with Přemysl Janda’s subdued lighting, it created a dark, oppressive atmosphere in which the party in the background was occasionally used to create a sharp contrast with, or to magnify, the grotesque behavior in front, as when the guests appeared to be engaged in a dance of death.

Zuzana Ježková’s costume designs were modern in design, with the exception of Herod’s, who had a toga added to his military costume. Although they fitted comfortably with the staging, their impact was fairly tepid and did little to promote the drama.

At the centre of the opera is the famous “Dance of the Seven Veils.” However, it turned out to be fairly disappointing. The idea behind it was a good one. Rather than dancing just for Herod or in front of a small company of people, Salome was surrounded by Herod and his dinner guests, along with a few servants. She moved between them, taunting them with an air of defiance. However, Andrea Časraková’s choreography did not work. Lacking coordination, it moved from one idea to the next, so that at times Salome appeared to be transitioning between ideas. It gave the impression of having no overall conception and was often not in sympathy with the orchestra.

This may not have been a perfect production, but it was very, very good. This was as intense a production of Strauss’ masterpiece as one may have witnessed. Everything was neatly coordinated to bring out the dysfunction of the characters and the debauched, amoral state of Herod’s court. It was a gripping piece of theatre from start to finish, and Ballová’s performance was breathtaking.

The post Brno National Theater 2023-24 Review: Salome appeared first on OperaWire.

Janáček Brno Festival has announced its 2022 season. For the purpose of this article we will focus on the vocal works only.

A double bill of “From the House of the Dead” and “Glagolitic Mass” spotlights Roman Hoza, Gianluca Zampieri, Tigran Hakobyan, Lukáš Bařák, Jan Šťáva, Kateřina Kněžíková, and Jarmila Balážová. Jakub Hrůša conducts a production by Jiří Heřman.

Performance dates: Nov. 2 – 6, 2022

Mezzo-soprano Markéta Cukrová and the Prague Philharmonic Choir will present the Vladimír Sommer’s Vocal Symphony for Alto, Reciter, Choir and Orchestra. Marko Ivanović conducts. Lukáš Vasilek is the Chorus Master.

Performance date: Nov. 4, 2022

Tenor Aleš Briscein performs Igor Stravinsky’s Mass for Mixed Chorus and Double Wind Quintet and Tenor. Jakub Klecker conducts. Pavla Kopecká plays the harp.

Performance date: Nov. 5, 2022

“Káťa Kabanová,” presented in the Calixto Bieito’s production, features Petra Šimková and Peter Berger. Jaroslav Kyzlink conducts the The National Theatre Orchestra.

Performance date: Nov. 9, 2022

Corinne Winters, Tomas Tomasson, Ladislav Elgr, Elena Zhidkova, Stephan Rügamer and Sam Furness star in the Tatjana Gürbaca’s production of “Káťa Kabanová.” The opera is a production of the Grand Théâtre de Genève. Tomáš Netopil conducts the Orchestre de la Suisse Romande.

Performance date: Nov. 13, 2022

Baritone Adam Plachetka performs Antonín Dvořák’s “Biblical songs,” op. 99. Works by Benjamin Britten, Richard Wagner, and Leoš Janáček will also be performed. Tomáš Hanus conducts.

Performance date: Nov. 17, 2022

Nicky Spence, Gustav Belacek, and David Stout star in the Olivia Fuchs’ production of “The Makropulos Case.” Tomáš Hanus conducts the Welsh National Opera Orchestra.

Performance date: Nov. 18, 2022

Csilla Boross, Tomasz Konieczny, and David Szendiuch perform Feliks Nowowiejski’s “Quo Vadis,” Dramatic Scenes for Solo Voices, Mixed Choir, Organ and Orchestra, according to a text by Antonie Jüngst, based on the novel by Henryk Sienkiewicz. John Fiore conducts.

Performance date: Dec. 19, 2022

Jiří Rožeň conducts Denys Pivnitsky, Tone Kummervold, and Světlana Sozdetaleva in Calixto Bieito’s production of Erwin Schulhoff’s “Flames.”

Performance date: Nov. 20, 2022

The Janáček Brno Festival 2022 Season begins on Nov. 2, and runs through Nov. 20, 2022.

The post Corinne Winters, Nicky Spence & Tomasz Konieczny Lead Janáček Brno Festival 2022 Season appeared first on OperaWire.

(Photo: Marek Olbrzymek)

Superficially “Jenůfa” is a tale of village life, full of folk traditions and colorful costumes, of a close intimate community in which all participate in each other’s daily lives and activities. Sure bad things happen, as they do everywhere, people fall out, they fight and argue and occasionally even murder, but the underlying harmony and all round goodness of the rural community, steeped in its traditions is supportive and functions for the common good. The reality of Janacek’s opera, however, is quite the opposite. The intimate community is claustrophobic, it intrudes and oppresses, it is brutal and intolerant, forcing people to commit heinous acts such as the Kostelnička’s killing of Jenůfa’s baby, while its folksy traditions and communal values provide a superficial gloss of feigned harmony and a place of refuge for the consciences of the intolerant mob.

An Uneven Production

The production for Brno’s Janacek Festival, directed by Martin Glaser and conducted by Marko Ivanović, was however only partially successful in exposing the community’s small-minded hypocrisy as the fundamental driver in the murder of Jenůfa’s baby. The main problem was Ivanović’s interpretation, which tended towards the sentimental; it was fresh, it was vibrant, he successfully uncovered the score’s textures and captured the work’s lyricism in what was a beautiful performance from the orchestra. But it was too pleasant, too light, there was little sense of the claustrophobia, pain and menace which underpin the work.

By contrast, Glaser was keen to explore the dichotomy which exists between the superficial and the underlying reality. In Act one, along with scenographer Pavel Borák and costume designer Markéta Sládečková’s, he took advantage of every possible opportunity to emphasize the rural environment and its folk traditions. Although the stage design was fairly crude, relying on cloth facsimiles of trees, it was nevertheless a colorful staging with apples strewn across the stage and piled up in baskets. Everyone was dressed in traditional folk costume. The autumnal lighting cast a warm glow over the stage. Laca’s argument with Jenůfa which ends with him slashing her face could therefore easily be seen as just an aberration. In Act two, however, the stage changes into a metaphorical expression of the characters isolation, their disconnectedness. There were a series of small claustrophobic rooms, all identical, down to the position of the chairs and the crucifix on the wall. When the door of one room opened or closed, it did so in all the rooms. The characters were isolated in different rooms, their interactions rarely face to face, trapped in their own reality, talking past each other. There was no sense of any support offered by the community, only fear of its judgment.

The sharp contrast between the first two acts not only successfully captured the contradiction between the superficial and the real, but highlighted the personal suffering of the characters, especially that of the Kostelnička, who even in the first act is isolated, depicted as a person who is quite willing to cast the first stone, rigidly committed to the community’s moral values. During the festivities she sits alone dressed in black, separate from the others while sitting in the middle of them.

Act three suffered from an awkward set design with the central part of the stage looking like the frame or a wooden crate, the only reason for its existence appearing to be as a means of removing the cast from stage, as it disappeared below, leaving Jenůfa and Laca alone. It was ugly, and out of keeping with Sládečková’s wonderful purple and dark green folk costumes and Martin Špetlík’s well designed lighting.

A Starry Cast

Although Karita Mattila’s star status ensured her top billing, the principal singers were no less effective. Soprano Pavla Vykopalová in the title role was an engaging and sympathetic Jenůfa. She has an appealing voice with an attractive timbre, a rich middle voice with a bright, secure upper register. Her beautifully rendered phrasing captured the lyrical quality of the part, although this was not at the expense of Jenufa’s inner pain and suffering. Her vocal versatility and ability to expertly develop characterization were impressive which was wonderfully illustrated in her Act two monologue, “Mamičko, mám težkou hlavu, mám, mám,” in which she runs through a string of emotions, as she searches for her mother, then her baby, anxiously awaits Steva’s arrival, panics and worries over the baby’s whereabouts and prays for her child’s safety.

Matilla’s familiarity and success in the role of the Kostelnička is well-known, and she did not disappoint in this production. From the moment she strode onto the stage amidst general frivolity towards the end of Act one, the strength of her portrayal dominated the stage, her distance from the rest of the community clearly visible: she is respected, even feared, but not liked. The irony of course is that her actions are a result of the fact that she is fully immersed in, and committed to its values, its prejudices, and judgements. Vocally, Matilla was not at her best in Act one, but in the crucial second act she rose to the occasion with a dramatically powerful performance, capturing the Kostelnička’s determination, ruthlessness and concerns, as well as her inner fears. The more extreme her emotions, the more compelling her performance became. It was an expressive performance founded upon her secure technique and deep knowledge of the role. Every line was crafted in detail to reflect her complex and increasingly unstable mental state, with dynamic nuances, subtle coloring and accenting all carefully wrought, and as her emotions become increasingly manic so the voice rose and shifted rapidly, spiraling and convulsing before she collapsed onto the floor in a splendid conclusion to Act two.

In Act one, tenor Peter Berger’s Laca was a largely unattractive, vicious character, with little sign of the love he is supposed to hold for Jenůfa, but with plenty of ego and insecurity, certainly not a man at ease with himself. It was a characterization which lacked nuance. However, over the following two acts he transformed into a more balanced individual so that by the end his love was genuinely depicted. It was an interpretation, which by chance or by design, highlighted the impression of man who had matured, who has seen the error of his ways and has been redeemed by love. He put in a strong singing performance, his voice secure and versatile, his phrasing well-crafted.

Richard Samek produced a forceful presentation as Steva. His possesses an even-toned, balanced and well-supported voice which he employed with skill. He moved with ease and strength into the upper register, whilst maintaining its quality and accented the vocal line intelligently, successfully capturing the character’s passionate, yet unpleasant, irresponsible nature, one interested only in his own pleasures. His singing was matched by a strong acting performance; his depiction of Steva’s drunken arrival after having just avoided the draft was particularly convincing.

There are numerous minor roles, all of which were essayed successfully, although a number of performances did catch the eye. Mezzo-soprano Jitka Zerhauova, cast as Grandmother Buryjovka, had a strong, likable stage presence. Her well-supported voice has a distinctive sound, which she used skillfully to characterize the role. Possessing a warm, full-sounding bass, Jirí Sulženko produced a confident, finely sung and detailed performance in the role of the Mill Foreman, for which he received loud applause at the final curtain. The bass Ladislav Mlejnek produced a larger-than-life, colorful presentation as the Mayor.

Overall this was a production with much to commend. Glaser’s direction was incisive, it had a good pace and successfully exposed the vicious elements which lay beneath the seemingly harmonious society. Sládečková’s wonderful folk costumes certainly impressed, although Borák’s staging was a bit hit and miss. On the musical side, the singers were excellent, but Ivanovic’s interpretation, although beautifully played, never fully caught the claustrophobia or sense of menace which underlies the narrative. At the end, Jenůfa and Laca are reconciled and walk off in loving harmony as the rain pours down, although they did not get wet! A perfect metaphor for Ivanović’s reading.

The post Brno Janacek Festival 2020 Review: Jenůfa appeared first on OperaWire.

That eclectic list comprises our top 10 operas to stream this week. Here’s a rundown.

Six Feet Under – Eurasia Festival (Oct. 13)

The Eurasia Festival will launch its fall season with the “Six Feet Under” series. In this first Zoom performance, the company will feature Artistic Director Aza Sydykov at the piano alongside tenor Mark Martinez, soprano Mithuna Sivaraman, soprano Kristina Shafranski, and mezzo-soprano Eugenia Forteza.

Watch it here.

What Happened to Lucrece? – Wexford Festival Opera (Oct. 13-15)

F0r those interested in a new opera, Wexford Festival Opera will present this unique new work which was created over three months during the COVID-19 lockdown. More interestingly, the opera has three endings (one tragic, one farcical, and one romantic), all of which will be streamed on consecutive nights.

Watch it here.

Destiny – OperaVision / National Theatre Brno (Oct. 14)

Robert Carsen’s hotly anticipated production will be available to stream for audiences worldwide. The Janacek opera will feature Philip Sheffield, Enrico Casari, Alžběta Poláčková, Natascha Petrinsky, Peter Račko, Jan Šťáva, Lukáš Bařák, Daniela Straková-Šedrlová, and Petr Hrůša, among many others. Marko Ivanović conducts.

Watch it here.

Chicken Skin Serenades – Hawai’i Opera Theatre (Oct. 16)

Hawai’i Opera Theatre continues its unique 2020-21 season with a performance billed as “what happens if Shakespeare met Verdi at a Halloween Party set to a classical mix of music with the artistic influence of The Ring (that’s the film version, not Wagner).” This unique experience will star HOT Orvis Opera Studio Resident Artists Leslie Goldman, Sarah Lambert Connelly, Oaklea Rowe, Iakuinipua’okahana Kelsey, and Falefia Jr. Brandon Fuamatu.

Watch it here.

Speaking Truth to Power – Orpheus Chamber Orchestra (Oct. 17)

The Orpheus Chamber Orchestra will perform Beethoven’s “Egmont,” Op. 84 with a new Orpheus-commissioned English translation by Philip Boehm. The concert will also feature performances by soprano Karen Slack, with narration by famed actor Liev Schrieber.

An Evening with Portland Opera: A Free & Virtual Concert from Rose City – Portland Gala (Oct. 17)

Portland Opera will kick off its 2020-21 season with an opera gala. The concert will feature sopranos Vanessa Isiguen, Alexandra LoBianco, and Caitlin Lynch; mezzo-soprano Daryl Freedman; baritones Michael Chioldi, Gordon Hawkins, and Will Liverman; and bass-baritone Daniel Mobbs. Pianists include company Chorus Master and Assistant Conductor Nicholas Fox, as well as Cris Frisco, Steven McGhee, Joshua Quinn, and Carol Wong.

Watch it here.

Roberto Devereux – Metropolitan Opera (Oct. 17)

“Roberto Devereux” is arguably Donizetti’s finest dramatic opera and this is undeniably one of the iconic presentations recorded on video. Starring Sondra Radvanovsky, Elina Garanča, Matthew Polenzani, and Mariusz Kwiecien and directed by David McVicar, this Met production is first-class opera on every level.

Watch it here.

Atilla – San Francisco Opera (Oct. 17-18)

San Francisco Opera will bring back its production of this early Verdi gem starring Ferruccio Furlanetto, Samuel Ramey, Quinn Kelsey, Diego Torre, and Lucrecia Garcia. “Atilla,” while not one of Verdi’s touchstone works, is one full of fantastic melodic invention and dramatic muscularity emblematic of the composer’s style.

Watch it here.

La Traviata – Teatro Comunale di Modena / Opera Streaming (Oct. 18)

The big reason to check out his “Traviata” is for Maria Mudryak, who has made this role a calling card ever since her famed performance at the Operalia Competition in 2017. She will be joined by Matteo Lippi as Alfredo and Ernesto Petti as Germont. Alessandro D’Agostini conducts.

Watch it here.

‘Treasure Chest: A Social Distancing Salon (Oct. 18)

Composer Felix Jarrar and librettist Bea Goodwin will team up with soprano Kirsten Kunkle for a performance of their art songs. Included in the program is the premiere of the soprano version of “Untitled,” Jarrar/Goodwin’s latest collaboration. Other Jarrar/Goodwin works include “Bobbing for Apples” and “I, Dead Sea.” The recital will conclude with “Aubades,” a song cycle with music and text by Jarrar.

Watch it here.

The post Sondra Radvanovsky, Elina Garanča, Karen Slack, Mariusz Kwicien, Ferruccio Furlanetto Headline Top 10 Operas to Stream This Week appeared first on OperaWire.

Brno is a small picturesque Czech city set close to the Austrian border which each year celebrates its most famous son, Leos Janacek, in a festival dedicated to his music. This year, the festival is performing, among other musical works, three of his operas: “Osud,” “Jenufa” and “The Cunning Little Vixen” as well as his song cycle “The Diary of One who Disappeared,” which is often performed as an opera, such is its dramatic potential.

On arrival, I had an interview scheduled with the soprano Alžbēta Poláčková who was playing the role of Mila Válková in the evening’s opera “Osud,” in which, among many other things, she discussed her voice, and the effect she would like it to have on the audience. Suffice to say that on the evidence of the evening’s performance she understated its qualities.

“Osud” is not considered one of Janacek’s best operas. Although he wrote it after he had achieved success with “Jenufa” it has never been able to establish itself. However, the director Robert Carsen and conductor Marko Ivanovic energetically engaged with work’s challenges, the result of which can be read in the review which will appear shortly.

The post Festival Diary: Janacek Brno Festival 2020: Day 1 appeared first on OperaWire.

The post Pavol Breslik & Karita Mattila Highlight Janáček Brno Festival’s 2020 Season appeared first on OperaWire.

The production will feature Jitka Zerhauová, Jaroslav Březina, Tomáš Juhás, Szilvia Rálik, Pavla Vykopalová, Ivan Kusnjer, Ladislav Mlejnek, Jarmila Balážová, Eva Štěrbová, Stanislava Jirků, Lenka Schallenberger, Martina Mádlová, and Ivona Špičková.

Marko Ivanović will conduct the production directed by Martin Glaser.

The stream kicks off at 6 p.m. local time. That’s around 12 p.m. Eastern time and 9 a.m. Pacific time for the start time. It will be available for repeat viewings on Opera Vision until April 1, 2020.

Here is a trailer for the performance.

The streaming service is free through OperaVision, which, per its official website, is a project “supported by the European Union’s Creative Europe program, OperaVision builds on the success of The Opera Platform, with more contributing opera companies from more countries, under the editorial supervision of Opera Europa, the European association of opera companies and festivals. OperaVision brings together 30 partners from 18 countries and invites you to travel and discover the diversity of opera from wherever you want, whenever you want.”

The post How To Live Stream National Theatre Brno’s ‘Jenůfa’ On OperaVision appeared first on OperaWire.

New Productions 

Rolando Villazón directs a new production of “L’Elisir d’Amore” with Bianca Tognocchi in the role of Adina and Piotr Buszewski and Matthias Stier sharing the role of Nemorino.

Jonathan Michie and Franz Xaver Schlecht will alternate as Belcore, and Sejong Chang and Paolo Bordogna will share the role of Dulcamara. Giedre ̇ Šlekyte ̇conducts.

Performance Dates: Sept. 14 – Oct. 3,  Nov 1, 2019, Jan. 4, March 13, April 25, 2020

Ulf Schirmer conducts a new production of Wagner’s “Tristan und Isolde” by Enrico Lübbe.

Daniel Kirch sings Tristan, while Megan Miller is Isolde. Sebastian Pilgrim is King Marke, while Mathias Hausmann Kurwenal and Barbara Kozelj as Brangäne.

Performance Dates: Oct. 5 – Nov. 10, 2019, March 14 and June 1, 2020

Janacek’s “Jenufa” gets a new production by Martin Glaser starring Pavla Vykopalová in the title role. Jaroslav Brezina, Tomáš Juhás, and Szilvia Rálik round out the cast. Marko Ivanovic conducts.

Performance Dates: Nov. 8, 2019

Oper Leipzig will present “ÜBER.LEBEN!,” a chorus project with music by Johann Sebastian Bach, Francis Poulenc, Dmitri Shostakovich, and Arnold Schönberg.

Patrick Bialdyga will direct the production with Thomas Eitler-de Lint conducting.

Performance Dates: Feb. 14 – 16, 2020

Viktor Ullmann’s “Der Sturz des Antichrist” will get a new production with Balázs Kovalik directing and Matthias Foremny conducting.

The work will star Thomas Mohr, Dan Karlström, Kay Stiefermann, Stephan Rügamer, and Sebastian Pilgrim.

Performance Dates: March 21 – April 2, 2020, & June 27, 2020

Matthias Stier & Patrick Vogel star as Tamino in a new production of “Die Zauberflöte” with Gloria Rehm as the Queen of the Night and Magdalena Hinterdobler and Olena Tokar sharing the role of Pamina. Jonathan Michie and Franz Xaver Schlecht sing Papageno, while Sejong Chang and Randall Jakobsh alternate as Sarastro.

The new production will be directed by Barbora Horáková and conducted by David Reiland.

Performance Dates: May 2 – July 2, 2020

Ulf Schirmer conducts Strauss’ “Capriccio” in a new production by Jan Schmidt-Garre. Maria Bengtsson, Mathias Hausmann, Patrick Vogel, Jonathan Michie, Sebastian Pilgrim, and Kathrin Göring in star in one Strauss’ most demanding works.

Performance Dates: June 28- July 11, 2020

Revivals 

Smetana’s “The Bartered Bride” returns with Franz Xavier Schlecht, Olena Tokar, Magdalena Hinterdobler, Sandra Maxheimer, and Patrick Vogel. Felix Bender conducts.

Performance Dates: August 25-Nov. 16, 2019

Karine Babajanyan and Gatson Rivero perform Puccini’s “Tosca” with Tuomas Pursio as the villainous Scarpia. Matthias Foremny and Christoph Gedschold alternate at the podium.

Performance Dates: Sept. 15, Nov. 15 & Feb. 1, 2020

Iain Patterson, Thomas J. Mayer, and Noel Bouley share the title role in Wagner’s “Die Fliegende Holländer” with Elisabet Strid and Christiane Libor as Senta. Ladislav Elgr sings Erik, while Randall Jakobsh is Daland. Ulf Schirmer and Christoph Gedschold conduct.

Performance Dates: Oct. 10 & 17, Nov. 2 & 24, 2019 & May 30, 2020

Ulf Schirmer conducts “BabyKonzert,” a children’s opera by Elisabeth Kuchne.

Performance Dates: Oct. 17 & 18, 2019 & Jan. 24 & 26, 2020 & May 14 & 15, 2020

Gal James and Olena Tokar sing the title role of Dvorak’s “Rusalka” with Patrick Vogel as the Prince. Ulf Schirmer conducts the production, which also stars Tuomas Pursio and Karin Lovelius.

Performance Dates: Oct. 18, Nov. 3 & 9, Dec. 13, 2019, Feb. 9, 2020

Marius Felix Lange’s “Schneewittchen” returns with Felix Bender and Christoph Gedschold conducting. The production stars Sandra Janke, Martin Petzold, and Magdalena Hinterdobler.

Performance Dates: Nov. 6-Dec. 29, 2019

Wallis Giunta and Kathrin Goring bring their acclaimed interpretations of Bizet’s “Carmen” with Gastón Rivero, Leonardo Caimi and Luc Robert alternating as Don José. Magdalena Hinterdobler and Gal James share the role of Michaëla and Evez Abdulla and Gezim Myshketa alternate as Escamillo. Matthias Foremny conducts the revival.

Performance Dates: Nov. 23 & 30, Dec. 17, 2019, Jan. 26, March 15 & April 5, 2020

Sandra Janke and Sandra Maxheimer star Hansel, while Magdalena Hinterdobler and Olena Tokar star as Gretel in Humperdink’s “Hansel and Gretel.” Ulf Schirmer, Matthias Foremny, and Christoph Gedschold conduct. There will also be family-friendly performances.

Performance Dates: Nov. 26 & 28 & Dec. 3-8, 2019

Karine Babajanyan and Megan Miller share the title role in Puccini’s “La Fanciulla del West” with Gastón Rivero as Dick Johnson and Tuomas Pursio as Jack Rance. Ulf Schirmer conducts the little performed score.

Performance Dates: Dec. 14 & 22, 2019 & Jan. 31, 2020

Christoph Gedschold conducts Puccini’s “La Bohème” with Gal James, Olena Tokar, Magdalena Hinterdobler, Jonathan Michie, and Gaston Rivero leading the cast.

Performance Dates: Dec. 20 & 26, 2019 & Feb. 2, 2020

Wallis Giunta and Paolo Bordogna headline Rossini’s “Il Barbiere di Siviglia” with Jonathan Michie and Franz Xaver Schlecht in the title role and Siyabonga Maqungo as the Count. Christoph Gedschold conducts.

Performance Dates: Jan. 5 & March 8, 2020

Gal James, Marco Jentzsch, Tuomas Pursio, and Magdalena Hinterdobler headline Weber’s “Der Freischutz.” Christoph Gedschold conducts the revival. 

Performance Dates: Jan. 25, March 1 & May 16, 2020

Astrid Kessler, Olena Tokar, Annika Gerhards, Thomas J. Mayer and Simon Neal star in Strauss’ “Arabella” with Ulf Schirmer conducting the work.

Performance Dates: Feb. 22 & 25, July 10, 2020

Devid Cecconi takes on the title role in Verdi’s “Rigoletto” with Bianca Tognochi as Gilda and Kyungho Kim as the Duke. Christoph Gedschold conducts with Sandra Janke and Randall Jakobsh rounding out the cast.

Performance Dates: March 7 & April 4, 2020

Christoph Gedschold conducts Verdi’s “La Traviata” with Olena Tokar in the title role, Matthias Stier, and Patrick Vogel.

Performance Dates:  March 26, April 13 & May 10 & 29

Thomas Mohr, Kathrin Goring, Mathias Hausmann, Sebastian Pilgram, and Kay Stiefermann star in Wagner’s “Parsifal.” Ulf Schirmer conducts.

Performance Dates: April 10, 2020

Ulf Schirmer leads Strauss’ “Die Frau ohne Schatten” with Stefan Vinke, Manuela Uhl, Jennifer Wilson, Tuomas Pursio, and Karin Lovelius.

Performance Dates: April 19 & July 12, 2020

Wallis Giunta, Sven Hjorleifsson, and Sebastian Pilgram sing Beethoven’s “Missa Solemnis.”

Performance Dates:  June 12 & 13, 2020

The Ring Cycle 

Iain Patterson and Tuomas Pursio alternate the role of Wotan in “Das Rheingold” with Thomas Mohr as Loge and Kathrin Goring and Karin Lovelius as Fricka. Kay Stiefermann and Werner van Mechelen round out the cast as Alberich.

Patterson and Simon Neal alternate as Wotan in “Die Walküre” with Robert Dean Smith as Siegmund, Melanie Diener, and Megan Miller as Sieglinde, Allison Oakes as Brünnhilde, and Randall Jakobsh as Hunding. Goring and Lovelius reprise their role as Fricka.

Stefan Vinke brings his acclaimed “Siegfried” to the third installment of Wagner’s tetralogy. Patterson and Neal alternate Wotan while Tuomas Pursio is Alberich. Daniela Kohler and Elisabet Strid share the role of Brünnhilde, and Karin Lovelius and Marina Prudenskayaas Erda.

Christiane Libor is Brünnhilde and Thomas Mohr is Siegfried in “Götterdämmerung.” Tuomas Pursio is Gunther and Gal James is Gutrune while Kay Stiefermann and Werner van Mechelen share the role of Alberich. Kathrin Goring and Karin Lovelius round out the cast as Waltraute. Ulf Schirmer conducts the entire ring.

First Cycle: Jan. 15-19, 2020

Second Cycle: May 20-24, 2020

Konzert

Ulf Schirmer conducts the Silver Gala celebrating the New Years and featuring some of the company’s fest singers.

Performance Dates: Dec. 30 & 31, 2019

The post Wallis Giunta, Olena Tokar & Gaston Rivero Highlight Oper Leipzig’s 2019-20 Season appeared first on OperaWire.