Alexey Markov
British director Phelim McDermott offers the audience a new take on the culture of the people of Ancient Egypt in Aida, one that allows us also to question the world in which we live. This new perspective entails a number of bold creative choices that do not make use of the traditional staging imagery associated with Aida. Aida’s command to Radames — “Ritorna vincitor!” — comes at a price. The triumphal march of the victorious Egyptians is a procession for the coffins of the heroes fallen in battle, the chorus are their grieving kinsfolk. McDermott’s staging resonates keenly with the images of so many civilian and military funerals that crowd our newsfeeds. Here is a triumphal march that does not seek to hide the true, lethal and disastrous nature of war, whatever side you are on.
New Year is a kind of milestone, the moment of summing up, making decisions. New Year is a new beginning, time to dream, make wishes and wait for miracles ... While all of Moscow is buying up gifts and decorating Christmas trees, Denis is desperately trying to manage to open the bar by December 31 and prove his worth to his father. Irina is more and more immersed in work, trying not to notice either the decorated office, or the approaching holidays, or her own loneliness. Nastya is a first-year student, all alone in a strange Moscow, misses her mother, works in a cafe and, smiling with all her strength, brings people joy and coffee. Sveta is Snegurochka, and to whom, how could she not be happy about the New Year and give others a festive mood, but she’s not going smoothly either: her beloved husband is completely immersed in the world of computer games and does not notice either his son, or Sveta, or reality.
As part of the 2019 Aix-en-Provence Opera Festival, filmmaker Christophe Honoré delivers an innovative staging of Giacomo Puccini's famous drama. His cleverly staged "opera within the opera" is a melancholy homage to the fascinating figure of the diva, who thrives on art and love and upsets the laws of time and death.
Salzburg Festival’s first-ever performance of Charles Gounod´s most famous and most performed opera!. Internationally-acclaimed tenor Piotr Beczala triumphs in the title role as soul-selling philosopher Faust: “Piotr Beczala is a world-Faust” (Kurier) and “The well-deserved crown goes to a perfectly-cast Piotr Beczala” (Abendzeitung). Ildar Abdrazakov was “celebrated” (Broadway World) for his signature role as seductive and demonic Méphistophélès. Maria Agresta as convincingly innocent Marguerite struggling to resist temptation and to gain salvation: “She is fabulous!” (Süddeutsche Zeitung).
Valery Gergiev conducts Mariusz Trelinski’s thrilling new production of these rarely heard one-act operas. Anna Netrebko stars as the blind princess of the title in Tchaikovsky’s lyrical work, opposite Piotr Beczala as Vaudémont, the man who wins her love—and wakes her desire to be able to see. Nadja Michael and Mikhail Petrenko are Judith and Bluebeard in Bartók’s gripping psychological thriller about a woman discovering her new husband’s murderous past.
