Opera 2014

rusalka_038

Given the paucity of offerings in next year’s Opera Australia season – a situation which seems likely to continue, as well as present projections of my future financial position, I expect this year will be a high water mark in my opera going.  As (Pinchgut or Sydney Chamber Opera  or other smaller companies aside) opera has now come to end for the year in Sydney, I thought I might make a list, before I forget.

1. Falstaff,  Deutsche Oper Berlin

2. Rusalka, Komische Oper, Berlin

The picture above comes from that production: a truly mindbending moment when the outlines of the proscenium decoration were projected onto the stage and then subjected to a surreal stretching. This is also the first time I have seen a cat brought onto the stage, quickly whisked off and replaced with an ersatz decapitated dead cat whose blood was an ingredient for Jezibaba’s spell.

3. Die Walküre, Leipzig

4. Elektra, Leipzig

5. La Calisto, Munich

6. Der Fliegende Hollaender, Munich

7. Werther, Essen

8. Der Liebestrank, Essen

9. Der Fliegende Hollaender, Essen

10. Lohengrin, Düsseldorf

11. Carmen, Sydney

12.  Turk in Italy, Sydney

12A   Elektra, Sydney (Symphony Orchestra)

13.  Eugene Onegin, Sydney

14.  Rickshaw Boy (骆驼祥子) Beijing

15.  Turandot, Beijing

16   Otello, Beijing

17   Otello, Sydney

18   Rigoletto, Sydney

19   Don Giovanni, Sydney

20   Elixir of Love, Sydney

21    Elixir of Love, Sydney (again)

 

3 Responses to “Opera 2014”

  1. Larry Says:

    Nice selection.

    Yes. Australian Opera’s choices are getting blander. They will lose their stalwarts, but gain tourists.

    • marcellous Says:

      I’m not so sure about gaining tourists, Larry. Tourists come anyway and (from memory) may already amount to 30% of attendance. As for stalwarts, my guess is that a big part of the loss is just natural attrition, particularly of post-war European migrants for whom the opera was an accoutrement of a cultured life. The survivors of that wave must nearly all be over 80.

    • marcellous Says:

      And as to the selection, looking at it as a selection, it seems pretty mainstream, doesn’t it? Either German works (because I was in Germany) or mostly top-20 or top-50 choices. Only Calisto and the Chinese opera could fairly be called rareties; followed I suppose by Rusalka (which has enjoyed a revival having never fallen from favour in Czech/oslovakia) and Werther.

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