Romeo Castellucci is a theatrical genius! Will write more when I come back to Paris. It simply drags you in and grabs your every emotion. This cannot work via webcast or a video recording. especially the moment of complete darkness when Orphée sings the celebrated aria was heartbreaking
The concept is very simple, the message extremely poignant, and the impact on me/us was simply devastating. Warlikowski can sometime go deep and tackle your hidden emotion. almost felt embarrassed when the light came back on. Only 20min into the show I felt I was on the edge of tears and was holding back until the last 15min and then wept like a willow. This is undoubtedly the best show I've seen since Parsifal staged by the very same Romeo Castellucci. Why would anyone pay 140€/seat and go to theater to see a parade of stupidity that we could see a week later on-line anyway?
Opera cake how to#
I wonder if there is anyone serious elaborating a strategy on how to preserve opera in the 21st century. We are not at the opera for the first time. We do not go to opera to be seen and hope to be perceived as cultivated. Hélas, the show is most of the time an insult to our intelligence. That flaw was corrected for this time and the Entführung aus dem Serail is presented at Garnier. Last Spring the pleasure of experiencing a very good Robert Carsen production of Die Zauberflöte was partly ruined by the fact that it was given at the immense auditorium of Opéra Bastille. There is literally nothing salvageable in this moronery. The show itself, however, is a total flop. Musically it was a lovely evening and a radio recording might make many Mozart aficionados happy for a few hours. The fact that she showed off her Halloween outfit a few days ago (?) suggests that she's still that same down to earth person we love. I hope the latter is not true and Anna is not suffering from inflated diva-ego-itis. But, we’re looking forward to welcoming Kristīne Opolais back and working together again with Anna Netrebko in future seasons.”ĭid she she withdraw earlier and they did not want to pass information to public until they made sure with Kristine Opolais would step in, or she abruptly decided not to sing because the whole production was not quickly redesigned and reorganized to meet her requirements? In this field this can, of course, mean that in rare cases certain artistic constellations don’t work out.
The Bayerische Staatsoper is well known for combining first-class musical quality with exciting and innovative directorial approaches. “We would still like to thank Anna Netrebko for deciding at an early stage that, due to differing artistic perspectives on the work, she would prefer to pull out. General Manager Nikolaus Bachler expressed his deep regret that Anna Netrebko would not be performing. Details are obviously unclear:ĭuring the premiere performances of Giacomo Puccini’s Manon Lescaut (15th, 19th, 24th, 27th, 30th November as well as 4th and 7th December) Kristīne Opolais will replace Anna Netrebko in the title role.
It is quite clear from the press release that the main reason for her withdrawal is that she does not like the Hans Neuenfels production. Two weeks before la prima of the new production of Manon Lescaut at the Bayerische Staatsoper in Munich, the house announced today that Anna Netrebko decided to pull out from the show.
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