Carsten Wittmoser News
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2024-03-29
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2016-12-09 23:00:00
Tristan und Isolde - Metropolitan Opera, 10/13/2016Skelton, Stemme, Gubanova, Wittmoser, Pape, Cooper / RattleTo be fair from the beginning: if one is to set a single part of this opera properly, it's probably best that it be the closing Liebestod, here rendered with an effective spotlighting of Isolde that was the main absence in the Dieter Dorn production that preceded this one. But the rest of Mariusz Trelinski's show is marred by precisely the opposite aesthetic: an overload of clutter that futhers the show's conceit but gets in the way of actual Wagnerian content. Too bad, since the musical side was quite good.While the Ring, for example, was the product of many years and aesthetic impulses and looks it, Tristan is all of a piece. Romantic subjectivity and its conflict with more organized existence without are embodied to what was quickly recognized as an ultimate extent: in […]
2016-12-09 23:00:00
Tristan und Isolde - Metropolitan Opera, 10/13/2016Skelton, Stemme, Gubanova, Wittmoser, Pape, Cooper / RattleTo be fair from the beginning: if one is to set a single part of this opera properly, it's probably best that it be the closing Liebestod, here rendered with an effective spotlighting of Isolde that was the main absence in the Dieter Dorn production that preceded this one. But the rest of Mariusz Trelinski's show is marred by precisely the opposite aesthetic: an overload of clutter that futhers the show's conceit but gets in the way of actual Wagnerian content. Too bad, since the musical side was quite good.While the Ring, for example, was the product of many years and aesthetic impulses and looks it, Tristan is all of a piece. Romantic subjectivity and its conflict with more organized existence without are embodied to what was quickly recognized as an ultimate extent: in […]
2016-12-09 19:00:00
Tristan und Isolde - Metropolitan Opera, 10/13/2016 Skelton, Stemme, Gubanova, Wittmoser, Pape, Cooper / Rattle To be fair from the beginning: if one is to set a single part of this opera properly, it's probably best that it be the closing Liebestod, here rendered with an effective spotlighting of Isolde that was the main absence in the Dieter Dorn production that preceded this one. But the rest of Mariusz Trelinski's show is marred by precisely the opposite aesthetic: an overload of clutter that futhers the show's conceit but gets in the way of actual Wagnerian content. Too bad, since the musical side was quite good. While the Ring, for example, was the product of many years and aesthetic impulses and looks it, Tristan is all of a piece. Romantic subjectivity and its conflict with more organized existence without are embodied to what was quickly recognized as an ultimate extent: […]
2016-10-13 19:04:00
The Met press release says it all: Carsten Wittmoser will make his Met debut as Kurwenal in tonight’s performance of Wagner’s Tristan und Isolde, replacing Evgeny Nikitin, who is ill.German bass-baritone Wittmoser’s recent performances include Amonasro in Verdi’s Aida and Germont in Verdi’s La Traviata at Germany’s Mecklenburg State Theatre; Lord Sidney in Rossini’s Il Viaggio a Reims and Sarastro in Mozart’s Die Zauberflöte at the Ópera de Bellas Artes in Mexico City; the title role in Wagner’s Der Fliegende Holländer at Germany’s Theater Bremen and Switzerland’s Theater St. Gallen; Don Pizarro in Beethoven’s Fidelio at Michigan Opera Theatre; and Cecco del Vecchio in Wagner’s Rienzi at the Bayreuth Festival.Tonight’s performance of Tristan und Isolde is conducted by Sir Simon Rattle and also stars Nina Stemme as Isolde, Ekaterina Gubanova as Brangäne, Stuart Skelton as Tristan, and René Pape as King Marke.
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