Wagner's GÖTTERDÄMMERUNG

Hi all, 

The Corona Virus pandemic and subsequent lockdown period has affected us all, not just in Berlin, Germany, or Europe, but the entire world. 

Unfortunately the performing arts industry has been significantly impacted by the restrictions. In a city like Berlin, which is the only city in the world to support three state opera houses, for both performers and audiences alike, the lack of live opera performance has been sole destroying. 

Though the houses are tentatively opening their doors for an initial 4 month season, it is unlikely that we will be able to enjoy the grandeur of the large scale operatic works. 

Therefore I share with you here, a piano accompaniment to the final instalment of Richard Wagner's epic "Ring des Nibelungen" cycle: Götterdämmerung (Twilight of the Gods). 

If you love the music, I hope you enjoy this performance. If you are a singer, I hope that it is of some use for you practicing along to the accompaniment. 

Please subscribe to the YouTube channel, and feel free to like and share the recordings. 

Hopefully we get back to the live performances sooner rather than later. 

MJT

Götterdämmerung. 1.Aufzug (First Act)

Götterdämmerung. 2.Aufzug (Second Act)

Götterdämmerung. 3.Aufzug (Third Act)

 

Komische Oper Berlin "Orpheus"

As the end of the opera season approaches in Berlin (breaking over Summer), the Komische Oper Berlin opened their final revival production on Friday night (23.06.2017): Monteverdi/Kats-Chernin's "Orpheus".

Care of theoperaplatform.eu

The production originates from 2012 and was the first production of Barrie Kosky's Intendanz. In fact, it was the first show of his Monteverdi Trilogie: all three Monteverdi Operas performed in one day! It is a very colourful and lively production, with a set resembling the Garden of Eden. 

Care of www.komische-oper-berlin.de / Photo: Iko Freese

Monteverdi's score from 1607 re-tells the classic tale of the singer/musician Orpheus travelling into the underworld (Hades) to rescue his love Eurydice, who was bitten by a snake. Through the guidance of Amor (Love), Orpheus charms the guard to Hades (Charon) by singing him to sleep and continues to the centre and pleads with the God Pluto, to return his love. Pluto accepts, under the condition that Orpheus not turn his gaze towards her while leaving the underworld. As per the myth, Orpheus cannot resist, and not trusting that she is following, Orpheus turns back and Eurydice is lost to the underworld forever. 

Care of www.komische-oper-berlin.de / Photo: Iko Freese

Monteverdi's score has been re-orchestrated and re-imagined by Australian composer, Elena Kats-Chernin (similar to "Poppea" - see blogpost here) and is wonderfully exotic and diverse. Conducted in 2017 by Matthew Toogood, it is quite a difficult production to coordinate musically, as there are five various orchestras positioned around the theatre, and the chorus sings not only onstage, but in true surround sound around the stalls of the auditorium. 

Care of www.komische-oper-berlin.de / Photo: Iko Freese

Reprising the title role is Ensemble Baritone Dominik Köninger, and Kammersänger Peter Renz returns as Amor. All other singers are new to the production: Talya Liebermann as the fated Eurydice, mezzo-soprano Maria Fiselier in two roles as Sylvia and Proserpine, and bass Önay Köse as the guard Charon and the God Pluto. The Chorus of the Komische Oper Berlin are a major part of the opera, as are the dancers and Puppeters. 

With only four more performances, it is worth booking tickets as this show often sells out.