#bayerische staatsoper

[lovelyballetandmore]

Shale Wagman | Bavarian State Ballet (Bayerisches Staatsballett) | Photos by Emma Kauldar

#shale wagman #bavarian state ballet #bayerische staatsoper #balletphotography #white tights #ballet slippers

[bobdobalina]

Cover art to Der Ring des Nibelungen and Parsifal: Orchestral highlights vol. II, Franz Konwitschny conducting the Munich State Opera (Bayerische Staatsoper), Urania Records (URLP 7065), 1952.

Artist uncredited, possibly Siegmund Forst, Frank Parisi, or Robert Galster. UPDATE: Jonas as Midcentury Classical dot com attributes it to Sam Norkin.

#music #album art #Urania Records #Richard Wagner #Franz Konwitschny #Bayerische Staatsoper #Siegmund Forst #Frank Parisi #Robert Galster #1952 #the 1950s #woodcut #Siegfried #Fafner #Fáfnir #opera #opera tag #Sam Norkin

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Bureau Borsche / Bayerische Staatsoper & Bayerisches Staatsballett / Gesänge von Krieg und Liebe / Poster / 2022

#bureau borsche #bayerische staatsoper #bayerisches staatsballett #gesänge von krieg und liebe #poster #2022 #gradient #typography

[infinitelytheheartexpands]

this looks SO COOL

#opera tag #opera #oratorio #semele #bayerische staatsoper #also that cast? say less #handel #händel #george frideric handel #georg friedrich händel #Youtube

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theatre can make you have some wonderful questions about important matters. unfortunately, one question that is not included in that category is "why does don alfonso own so much fetish wear"

#operaposting #this is bayerische staatsoper 2022 cosi fan tutte

[shredsandpatches]

Eventually I am gonna watch this production of Mefistofele, ft. my guy John Relyea and a giant ball pit (it will be a while before I have time because February Choral Madness begins this week) but I just want to say how much I want those shoes.

#i think this must be the finale? #kinda like the bayerische staatsoper one #mefistofele #mephistopheles monday #hot faust summer #excellent sartorial choices #john relyea #can't wait to hear him sink his teeth into the arias in this 🤤 #i'm so obsessed with this opera now

[mozart2006]

Bayerische Staatsoper - Pikowaja Dama

Foto ©Wilfried Hösl Non ho difficoltà ad ammetterlo: anche se amo alla follia Pikowaja Dama, che considero uno tra i capolavori assoluti del teatro d’ opera ottocentesco, Continue reading Bayerische Staatsoper – Pikowaja Dama

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#asmik grigorian #aziz shokakimov #bayerische staatsoper münchen #bayerische staatsorchester #boris pinkhasovic #brandon jovanovich #canto #critica #münchen #opera #roman burdenko #teatro #tschaikowsky #victoria karkacheva #violeta urmana

[akathecentimetre]

A 110% Shameless Iestyn Davies Appreciation Post

Feat. Glyndebourne's Saul (2015) and Bayerische Staatsoper's Agrippina (2019)

BONUS to prove he's actually very chill and can smile:

#iestyn davies #countertenor #operablr #opera #The Lad #my gifs #orym inspo

[tuttocenere]

verdi's don carlo at bayerische staatsoper, 2012

carlo's hand journey

#verdi don c #the camera cuts away but #sucking his fingers with posa's blood on them is an amazing acting choice. 10/10 could not be better #congrats on understanding the character #I also love everything else about this #cw blood #gesture tag #gif warning

[drgeoduck]

If I had a quarter for every time a conductor collapsed and died performing at the Bayerische Staatsoper in Munich, I'd have a dollar. Which isn't a lot but it's really freaking strange that it happened four times.

1911, Felix Mottl, conducting Tristan und Isolde

1968, Joseph Keilberth, also conducting Tristan und Isolde

1989, Giuseppe Patane, conducting The Barber of Seville

2022, Stefan Soltesz, conducting Die Schweigsame Frau

#opera #weirdness #death mention

[lovelyballetandmore]

Shale Wagman | Bavarian State Ballet (Bayerisches Staatsballett) Top photo by Nicholas MacKay | MacKay Productions

#shale wagman #bavarian state ballet #bayerische staatsoper #la bayadere #la bayadère #golden idol #balletphotography

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Bureau Borsche / Bayerische Staatsoper / Ja, Mai / Printed Matter / 2022

#bureau mirko borsche #bayerische staatsoper #ja mai #printed matter #2022 #gradient collection #typography

[infinitelytheheartexpands]

genuine RIP 😔

#opera #opera tag #stefan soltész #bayerische staatsoper #rip #also feel bad for everyone involved in the performance #i follow a couple of the singers on instagram and they were so happy about this show…

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Hello European mutuals. I am now in Munich (briefly), which means the borders of the EU have no power in preventing me from rapidly approaching your location. Be not afraid

#I am only here for the next 40 minutes #I suggested staying here but unfortunately that’s not how visas work #It’s probably for the better as the only German words I can say are ‘Bayerische’ and ‘Staatsoper’

[shredsandpatches]

Teatro la Fenice's new production of Mefistofele (with Alex Esposito in the title role) opens tonight so I've been seeing a lot of preview pics on the bird site, including this one and a video of the chorus from the end of this scene (which does look cool despite the schlubby costumes on the two leads, why are they putting Alex Esposito in sweatpants, come on, they put him in fishnets for Gounod!). ANYWAY it got me thinking about the various props I've seen used for the globe in "Ecco il mondo." For the uninitiated: this scene is set at Walpurgisnacht, the witches' sabbath and the primary event of the infernal social calendar. At one point the chorus presents their sexy demon overlord with a globe, symbolizing his mastery over the world and prompting Mefistofele's aria about the folly of humanity, at the end of which he smashes it. (The original libretto mentions a glass globe, and they did have sugar glass in the 1870s so I think that's probably what it would have been.)

Anyway, if you look at the video from later in the scene you can see that disco ball earth looks substantially redder and more burnt out by the end of the scene, a lighting effect which I am guessing takes place at the end of the aria. Which is pretty cool! I rather like that! Not as much as something that can go boom, but still pretty neat.

Other prop choices I've seen, roughly in order of how much I liked them:

Nothing (Festspielhaus Baden-Baden 2016, ft. Erwin Schrott). Come on. Why would you do it this way. I love this production quite a lot (and I actually otherwise really liked their Walpurgisnacht staging) but sometimes it makes questionable choices and this was one of them. Projecting equations all over the giant stage skull does not count. LET MEPH SMASH THINGS.

Giant blue lighted globe (I forget what production this was, but I saw this scene on youtube and couldn't find it when I looked just now). Pretty attractive visually, and stood out amid an otherwise red-dominated scene. Also the closest on this list to authorial intent (and, let's be real, Boito would certainly have used a lighted globe if it were possible to do safely at the time). However, you lose a lot of the impact if your singer has to carefully drop the prop globe into a trapdoor. This is kind of a common theme in this post and a principle by which I would abide: if you can't break it, use something else.

Cow heart (Bayerische Staatsoper 2015, ft. Rene Pape). Well, it's certainly creatively gross! I'll give it points for that. It was definitely not the worst idea this production had in re: Walpurgisnacht. But there are also a few problems: one is the destructibility issue outlined in the last entry. If you do something gross like that it's not gonna be as effective if it doesn't get to go splat, which obviously the prop cannot do. Another is that it doesn't really go with the symbolism of the aria (why is the world a cow heart, specifically?). A third is that the scene had already placed a bunch of writhing pregnant women downstage which made me worry that things were going to go a LOT darker than they actually did. I neither need nor want to see sacrificial baby yeeting in Mefistofele, but if your production is generally committed to maximum squalor, you probably shouldn't do anything that would make the audience imagine it and consequently doubt that commitment.

Paper globe (Teatro dell'Opera di Roma 2023, ft. John Relyea). A solid choice! He spikes it into an oil drum fire pit and and it makes a nicely scary-looking flame for an instant. It would have looked cooler if it were bigger, but it was definitely visually interesting (unlike most of the scene, alas; Relyea was typically fantastic but the director did not give him much to work with in this sequence beyond dressing him like Mussolini) and appropriately destructive.

Latex balloon (San Francisco Opera 1989, ft. Samuel Ramey). This one sometimes draws sniffs from opera purists for being cheap and tacky, but honestly that's entirely on-theme: behold the world! It's a piece of crap! This staging is iconic for a reason (it's on the cover of the dvd) and the simple balloon is satisfyingly destructible (Ramey dramatically stabs it with a very large pin), easy to bat around before destroying it, and inexpensive to replace. Full marks. Of course, this is a famous enough production that any other one that goes that route will probably be seen to be alluding to it.

Because I am obsessed with this opera and have an unattainable fantasy of directing it I have a lot of thoughts about all kinds of staging details, and so I would definitely return to the "inflatable earth" well, but distinguish it by getting Faust into the act: the second and third verse of the aria, after all, are about how dumb and generally shitty humans are. (And I think it's important for stagings of this sequence not to lose sight of him, which sometimes happens.) I'm picturing Meph dragging Faust up "onstage" and handing the globe off to him, as a representative of said dumb shitty humans (a lot of teasing interspersed with aggressive flirting going on here ofc). At the climactic "Ecco il mondo!" he flicks a finger in Faust's direction, and the globe explodes in his hands, to the great delight of the chorus. It's different, and it's a nice moment for making your singers cooperate in selling it (Faust, of course, has the more difficult job here since he'd have to play startled at a stage effect he is largely responsible for carrying off). My throughline for Mefistofele is that it's fundamentally a toxic, destructive love story that's still somehow weirdly ennobling for the participants on some level, and the Walpurgisnacht scene is a pivotal moment in that arc (it's where Meph's switch flips from "I want to win my wager" to "I want Faust") so that staging choice would be a another little thing that makes that relationship central.

#mefistofele #hot faust summer #faust friday #my imaginary production of mefistofele is fucking amazing you guys #child death for ts #(hypothetical and pretend) #how to destroy the world #opera

[mozart2006]

Bayerische Staatsoper - Rusalka

Foto ©Wilfried Hösl Dopo le emozionanti recite dello scorso dicembre all’ Oper Frankfurt, non volevo assolutamente perdermi il ritorno di Asmik Grigorian alla Bayerische Staatsoper, dove la quarantaduenne cantante lituana ha presentato la sua caratterizzazione del ruolo principale nella ripresa della Rusalka di Antonin Dvořák, Continue reading Untitled

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#asmik grigorian #bayerische staatsoper münchen #bayerische staatsorchester #canto #critica #dmytro popov #dvorak #gunther groissböck #henrik nanasi #martin kusej #novecento #opera #rusalka #teatro