Dresden, Semperoper

Waiting for the curtain to go up:

Going up!

(NB more romantic colour balance)

The famous clock above the proscenium arch – it goes in five minute increments:

Curtain calls – at least someone can guess what we saw that night:

The view at interval across the Theaterplatz to the Schloss and Schlosskirche:

The ballet, on a Tuesday, was for D. On Monday we approached the prince/water-being theme from a different angle, in an utterly engrossing (even while in many ways quite incomprehensible on the spot) production of Rusalka which featured some of the most brilliant stage-craft I have ever seen. An informative account of the production’s previous outing in Dresden (it was previously mounted in Brussels and Graz) is here.

On Wednesday I shook off my museum-leg with a quick shower and climbed to the back of the fourth Rang for a stehplatz (standing room was all that was available) and eased off my shoes for a more conventionally (in the German sense) minimalist production of La Traviata. The set featured a red chair and a matching colour-bond fence which twisted and tilted: the chorus, rather than any furnishings, provided the backdrop; Violetta was more street-walker than courtesan; the party she returned to after Germont pere warned her off was an underpants party; waiting for Alfredo and death, Violetta slid down the colour-bond fence as it tilted up: simple also is good.

Hearing the splendid Dresden orchestra in the Semperoper’s bright but clear acoustic just made me weep for our subterranean post-box-mouthed pit in Sydney.

2 Responses to “Dresden, Semperoper”

  1. wanderer Says:

    ‘Post-box-mouthed’ just about covers (sic) it. Welcome back.

  2. Victor Says:

    What a magnificent theatre.

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