Martin Winkler

Alban Berg explores the power that Eros and Thanatos, in their rawest forms, have over our lives: Lulu, a femme fatale, will do anything to get ahead in a man’s world, but she ends up being destroyed.

Penderecki's Opera of an entire convent, in the small French village of Loudun, apparently possessed by the devil.

The Marschallin is relishing time with her young lover, when her cousin’s sudden arrival ignites a comic chain of events. With honour at risk, social status bartered and happiness illusive, the Marschallin accepts time cannot be stopped and she must set young love free. After opening the 2022-23 season in Brussels with Pikovaya Dama, La Monnaie / De Munt now streams Der Rosenkavalier live on OperaVision. The mystery of time resonates throughout Hugo von Hofmannsthal’s highly spiritual and nostalgic libretto, for which Richard Strauss took a step back in time to eighteenth-century Vienna. Waltzing in neoclassical style, with sublime lyricism and a refined orchestral palette, the opera looks back to the past, faded beauty, lost loves.

William Kentridge’s multi-layered production of Berg’s masterpiece stars charismatic soprano Marlis Petersen in the title role—the enigmatic and alluring woman who is equal parts femme fatale, innocent girl, and abused victim. The men around her, whose lives she forever alters, are Johan Reuter as newspaper publisher Dr. Schön; Daniel Brenna as his composer son, Alwa; Paul Groves as the Painter; and Franz Grundheber as Schigolch. Susan Graham sings Countess Geschwitz, and Lothar Koenigs conducts Berg’s landmark score.

Offenbach’s mockery of bourgeois ideals, the sublimity of music and the institution of marriage ensures that the moralistic sermonizing of ‘Public Opinion’ falls on deaf ears. The mysterious figure of John Styx tells the story of behind-the-times Orpheus and his hacked-off Eurydice, of gods and goddesses seeking diversion, jaded with humdrum life in Olympus. He tells of the rebellion in the pantheon, which Jupiter adeptly averts by promising an amusement for his entourage. Burning with curiosity to see the beauteous captive and the contest between Jupiter and Pluto for Eurydice’s favour, the illustrious company embarks on an infernal ride to the underworld that culminates in what is surely the most wellknown can-can in the history of music. And what of Eurydice? She ends up putting a spoke in everyone’s wheel…

Avant son retour dans le bâtiment rénové de la Place de Neuve, le Grand Théâtre de Genève connaît sa dernière ouverture de saison hors les murs, avec la nouvelle Carmen du metteur en scène et scénographe Reinhild Hoffmann.

Barrie Kosky gives the “operetta of all operettas” a new look and devotes himself to its morbid side. The setting is Vienna, city of the golden operetta era, where Die Fledermaus premiered at the Theater an der Wien in 1874. The bat's revenge becomes a nightmare, and not just for Gabriel von Eisenstein. A society, an entire city dances towards the abyss. To take revenge on his friend Eisenstein, Dr. Falke, alias Die Fledermaus, stages a game of mistaken identity at Count Orlofsky's house. A marquis and a chevalier, a countess and budding artists meet there for a raucous party. Glasses clink, relationships are shaken, people love, lie and dance. The party lasts as long as it lasts, true to the motto: “Happy is he who forgets...”.

At the Bayerische Staatsoper in Munich, Kirill Petrenko conducts this new production of Alban Berg's Lulu, directed for stage by Dmitri Tcherniakov and starring the soprano Marlis Petersen (Lulu).