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2024-04-21
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2024-03-30 10:53:00
St Thomas’s Church, LeipzigBach: St John Passion, BWV 245 (first version, 1724) Elisabeth Breuer (soprano)Jakub Jósef Orliński (countertenor)Daniel Johannsen (tenor)Benjamin Appl (bass: Christus)Tomáš Král (bass: arias)Thomanerchor LeipzigLeipzig Gewandhaus OrchestraAndreas Reize (conductor) At Good Friday Vespers, 1724, in St Nicholas’s Church, Leipzig, the city’s new Thomaskantor, Johann Sebastian Bach, led the first performance of his St John Passion. Three hundred years later, on Good Friday, Bach’s masterwork will return to the same church, performed by the latest incarnation of the composer’s own choir and an orchestra closely related, conducted by the twelfth successor to Bach as Kantor, Andreas Reize. I attended not that performance, but one the previous evening of Maundy Thursday, at the more customary St Thomas’s; it is close enough, I think, to count, without troubling ourselves with complications of lunar versus solar calendars. (For what little it may be worth, the Gregorian calendar had been in use there for […]
2023-10-16 09:06:31
Polish countertenor and breakdancer Jakub Józef Orliński talks about his new album with Il Pomo d'Oro orchestra.
2023-10-16 09:06:31
Polish countertenor and breakdancer Jakub Józef Orliński talks about his new album with Il Pomo d'Oro orchestra.
2023-07-21 08:38:00
Munich Opera Festival (2) - Semele, 18 July 2023
PrinzregententheaterSemele – Brenda RaeJupiter – Michael SpyresApollo – Jonas HackerAthamas – Jakub Józef OrlińskiJuno – Emily D’AngeloIno – Nadezhda KaryazinaIris – Jessica NilesCadmus, Somnus – Philippe SlyHigh Priest – Milan SiljanovClaus Guth (director) Michael Levine (designs) Gesine Völlm (costumes) Michael Bauer (lighting) rocafilm (video) Ramses Sigl (choreography) Yvonne Gebauer, Christopher Warmuth (dramaturgy) Bavarian State Orchestra LauschWerk (chorus director: Sonja Lachenmayr) Gianluca Capuano (conductor) Images: Monika Rittershaus I was sceptical, I admit, for the first two acts of Claus Guth’s new production of Semele, but it came together and offered an anthropological and psychoanalytical interpretation of Handel’s opera such as I have not encountered before. It is not really my way of thinking, but that is neither here nor there. And what I had initially seen as a disappointingly ‘stylish’ (that is, stylish, but not much more) production, rather in the manner of Christof Loy, albeit with suggestions of something closer […]
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