Wednesday, February 28, 2024
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SF Opera’s Die Frau Ohne Schatten


_DSC2744* Notes *
Richard Strauss’ Die Frau Ohne Schatten (Act I Scene 2 pictured, {photograph} by means of Cory Weaver) returned to San Francisco Opera after a scarcity of 34 years. The colourful manufacturing by means of artist David Hockney premiered at Covent Lawn long ago in 1992, however nonetheless has a lot to counsel it, and the making a song and taking part in had been all superb.

The plot of this opera, as with such a lot of of Strauss’ operas, was once written by means of Hugo von Hofmannsthal. It’s mainly a fairy story a couple of magical empress who has no shadow, which means she is barren, and he or she should discover a shadow or the emperor will flip to stone. She descends to the human realm together with her nurse, and tries to realize a shadow from the spouse of Barak the Dyer. There may be a lot communicate of the unborn. The empress ultimately makes a decision it’s improper to hurt Barak, as his spouse will not able to have youngsters if she offers up her shadow, and finally she is granted grace and given a shadow. This folktale is believe to be of Aarne-Thompson sort 755, about forgiveness and redemption, and has origins in Scandinavia.

Hockney’s set is as colourful because the song is, the numerous scenes are switched up very easily. I in reality cherished how the earthly realm of Barak the Dyer and his spouse appeared like a rainbow salt mine, even the mortals are living in technicolor. The costumes, from Ian Falconer of Olivia reputation, gave the look to be influenced by means of Rajasthani or Mughal miniature portray.

_DSC2439The forged integrated 25 principals and no longer best the common refrain however a youngsters’s refrain. Soprano Nina Stemme (pictured, {photograph} by means of Cory Weaver) sounded as robust and glittery as ever as Barak’s Spouse (Die Färberin). It was once amusing to listen to her with soprano Linda Watson (Nurse/Die Amme), since they’re each identified for acting Brünnhilde. Watson has a extra strident tone, nevertheless it works for this position, which was once written for mezzo-soprano, and the 2 singers did sound very distinct. The Empress (Die Kaiserin), sung by means of soprano Camilla Nylund, appeared like an overly difficult phase, there have been dizzying heights that had been frankly shrill. However there was once no mistaking Nylund for the opposite two sopranos. Baritone Johan Reuter was once an overly human Barak, and sang with heat. Tenor David Butt Philip was once indisputably extra otherworldly because the The Emperor.

The orchestra sounded magnificent below Maestro Donald Runnicles, there have been such a lot of colours and textures within the song that got here out moderately superbly. That is indubitably an opera to go back to, and I am very curious to learn the rating.

* Tattling *
The folk in Field D Seats 7 and eight arrived quite overdue and left a couple of mins earlier than the tip of the opera. We inconvenienced them by means of being of their seats at the beginning, as the individual in Seat 4 saved going out and in of the field. The individual in Seat 4 additionally spent somewhat time texting, however this was once somewhat transient. The individual in Seat 8 smashed her plastic water bottle with the intention to drink, and this took place 2 or three times. She additionally left the bottle at her seat after leaving the efficiency.

Differently it was once lovely quiet, the general public in attendance very a lot sought after to be there and had been listening closely.

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