Kathryn Lewek

At Salzburg Festival, Cecilia Bartoli shines as Ariodante with her dazzling coloratura in a highly acclaimed new production by the German director Christoph Loy, who is known for his clever psychological stagings. Loy turns Handel's splendid baroque opera into an exciting and differentiated reflection on gender roles.

The Queen of the Night enlists a handsome prince named Tamino to rescue her beautiful kidnapped daughter, Princess Pamina. Aided by the lovelorn bird hunter Papageno and a magical flute that holds the power to change the hearts of men, young Tamino embarks on a quest for true love, leading to the evil Sarastro's temple where Pamina is held captive.

One of opera’s most beloved works receives its first new Met staging in 19 years—a daring vision by renowned English director Simon McBurney that The Wall Street Journal declared “the best production I’ve ever witnessed of Mozart’s opera.” Nathalie Stutzmann conducts the Met Orchestra, with the pit raised to make the musicians visible to the audience and allow interaction with the cast. In his Met-debut staging, McBurney lets loose a volley of theatrical flourishes, incorporating projections, sound effects, and acrobatics to match the spectacle and drama of Mozart’s fable. The brilliant cast includes soprano Erin Morley as Pamina, tenor Lawrence Brownlee as Tamino, baritone Thomas Oliemans in his Met debut as Papageno, soprano Kathryn Lewek as the Queen of the Night, and bass Stephen Milling as Sarastro.

Nous avons rencontré le directeur musical émérite James Levine dirige la production de lauréat du Tony Award Julie Taymor du chef-d'œuvre de Mozart, Die Zauberflöte. Golda Schultz fait ses débuts Met Pamina avec Kathryn Lewek comme la reine de la nuit. La présentation de vacances de La Flûte enchantée, une mise en scène abrégée chanté en anglais pour les familles, a été le premier Live performances HD à transmettre. Ceci est la première fois la longueur opéra allemand sera vu dans la série.

Un conte de fées fantaisiste avec des thèmes profondément enracinés dans les Lumières et la franc-maçonnerie, la Flûte enchantée de Mozart plaît à un public de tous âges. Julie Taymor, lauréate du Tony Award, associe la magie et le mystère de cette fable intemporelle à une mise en scène qui prend vie avec des couleurs vives, des costumes complexes et des marionnettes inventives. Dans cette performance de la saison 2017-2018, le ténor Charles Castronovo incarne Tamino, noble prince à la recherche de jeune fille Pamina, chantée par la rayonnante soprano Golda Schultz pour sa première saison au Met. En cours de route, Tamino se lie d'amitié avec l'oiseleur Papageno (Markus Werba) et affronte les forces de la lumière représentées par le bienveillant Sarastro (René Pape), et des ténèbres incarnées par l'ébouriffante Reine de la Nuit (Kathryn Lewek). James Levine dirige cette joyeuse interprétation de l'un des derniers chefs-d'œuvre de Mozart.

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…

Production of the Salzuberger Festspiele 2024. French director Mariame Clément will explore the relationship between art and real life by linking the three “tales” with individual stages of Hoffmann's biography as an artist in her production. This has decisive consequences for the female characters, or rather for the view of the images that Hoffmann projects onto Stella: the angelic but emotionally cold Olympia, who turns out to be a doll;

Set in Venice during the Renaissance, the drama centres on Bassanio, a young nobleman who would like to court the beautiful Portia but doesn‘t have the money to travel to her country estate, so he asks the merchant Antonio for help. Antonio‘s wealth is tied up in maritime trade but he offers to procure the sum Bassanio needs from the Jewish money lender Shylock. Shylock hates Antonio for being so contemptuous in his treatment of Jews, and therefore stipulates that if the debt is not repaid within three months, the penalty will be a pound of Antonio‘s own flesh...