Five Flute Friday (Magic Flutes, that is!)

ROH, 2008

Salzburg, 2006

Royal Concertgebouw, 1995
Act 1

Act 2



Hamburg Oper, 1971

Kenneth Brannagh Film, 2006
Act 1

Act 2

Arabella from the Bayersiche Staatsoper (Live on July 11)

From the STAATSOPER.TV website:

Bayerische Staatsoper will at 7 p.m. on Saturday, 11 July show the new production of Arabella by Richard Strauss with Anja Harteros in the title role.

With this opera, the film director Andreas Dresen will make his debut at Bayerische Staatsoper. Standing on the podium of Bayerisches Staatsorchester will be the Swiss conductor and musical director of the Paris Opera, Philippe Jordan. Anja Harteros will be participating in a Festival premiere for the fourth time after her premiere performances in Alcina (2005),Lohengrin (2009) and Il trovatore (2013). Singing at her side will be Kurt Rydl (Count Waldner), Doris Soffel (Adelaide),Hanna-Elisabeth Müller (Zdenka) and Joseph Kaiser (Matteo). Thomas J. Mayer, who was heard most recently at Bayerische Staatsoper as Wotan in Der Ring der Nibelungen (2012 and 2015), will be performing Mandryka.

Gratuitous Friday – Joseph Kaiser is Lenksy: Kuda, Kuda

I commented a while back on Canadian tenor Joseph Kaiser’s excellent performance in a musically wonderful, but dramatically strange (and to me, annoying) performance of Handel's Theodora. Just recently, it has come to my attention that he’ll be singing Tamino next season with the Washington National Opera (the other WNO).  Of course, I needed to find out more about him.

Handel: Theodora – Salzburg 2009: I Respectfully Dis-regie

I have nothing but praise for the musical quality of this performance of Handel’s oratorio. Each soloist is top notch (both singing and acting), the Salzburger Bachchor is outstanding, and I don’t think the Freiburger Barockorchester can do anything wrong.  However, I feel neutral-to-negative about the overall package.

Director Christof Loy thinks the oratorio has no narrative, so he doesn’t bother to deal with it. I happen to disagree with him, but he somehow forgot to consult with me.  The Groβes Festspielhaus is hardly an ideal venue for this intimate work. However, Loy notes that the massive stage helps him create an “installation” in which intimacy appears to be “threatened in the most extreme ways.” I admire him for attempting to turn a liability into an advantage, but I don’t buy this half-and-half, kind-of-staged approach. I say have more action; have less action; take a stand.  He keeps teasing me into thinking something is going to happen, but then it doesn’t.  If one is going to treat the piece as if there is no narrative, do a concert performance, or at least give us some nice tableaux to look at.