|Marlis Petersen as Lulu at the Met|
the Anna-Nicole to be
Parsifal (Gran Teatro de Liceu, Barcelona in February; Opernhaus Zürich in June), production by Claus Guth. Profane to sacred, indeed. Guth’s Tannhäuser and Tristan were both stunning journeys into the 19th-century mind, and both had close connections to the cities in which they were staged (Vienna and Zürich respectively). So when I saw he was doing Parsifal in Spain I was immediately intrigued. In Barcelona, Michael Boder will conduct and the cast includes Klaus Florian Vogt as Parsifal, who is all sorts of amazing, and in Zürich the idiosyncratic Daniele Gatti conducts and the most excellent Stuart Skelton in Zürich sings the title role. (Doubt I will make it to Barcelona but I’m not ruling Zürich out.)
Salome (Osterfestspiele Salzburg, April), production by Stefan Herheim, conducted by Simon Rattle. I am ashamed of my ignorance of the art of Herheim, who is arguably the most talked-about director in opera today. I have never heard Emily Magee in person but from what I have heard on recordings she may be a remarkable Salome. I admit to currently having no opinion of Rattle in early-period Strauss, but this looks like an Event. And would be an enlightening one for me.
Traditionalist Alternative: Le nozze di Figaro (Wiener Staatsoper, February). After the roaring success of Jean-Louis Martinoty’s Don Giovanni in December, this production from the same director is a hot commodity. In case you can’t tell, I’m being sarcastic. This Nozze has been out on DVD for years and I’ve already written about it, but it’s new to Vienna in February and despite the boring, the cast of Röschmann, Pisaroni, and Bonitatitbus looks pretty good. Schrott as the Count should be interesting. Welser-Möst conducts.
Please vote here or suggest something else in the comments!
Off to Fledermaus tonight!