Guardian–Der Rosenkavalier review

– glittering 50s update cleverly separates love and lust

Garsington Opera, Wormsley Estate, Stokenchurch
Bruno Ravella’s production has a glamorous staging that allows Miah Persson’s understated refinement to register.

… In order to enable the Philharmonia to observe social distancing in the pit, a reduced orchestration by Eberhard Kloke is used. You miss some of the sensuality of Strauss’s original, but it’s handsomely conducted by Jordan de Souza and quite superbly played.

Gramophone Review: WEINBERGER Frühlingsstürme (de Souza)


Jaromír Weinberger, Composer
Alma Sadé, Tatjana, Soprano
Berlin Komische Opera Orchestra
Dominik Köninger, Roderich Zirbitz, Baritone
Jordan de Souza, Conductor
Luca Schaub, Grand Duke Michailowitsch, Singer
Stefan Kurt, General Wladimir Katschalow, Speaker
Tansel Akzeybek, Ito, Tenor
Tino Lindenberg, Colonel Baltischew, Singer
Vera-Lotte Boecker, Lydia Pawlowska, Soprano

‘All that will be left of life will be the memory of spring storms’, muses the widow Lydia Pawlowska in Jaromír Weinberger’s Frühlingsstürme, and the publicity for Barrie Kosky’s staging at the Komische Oper Berlin described this ravishing work as ‘the last operetta of the Weimar Republic’. The first production was forcibly shut down, mid-run, within weeks of the Nazis taking power in 1933, and this latest rediscovery in Kosky’s ongoing revival of Berlin’s operetta tradition comes with weighty historical baggage. It’s also a funny, gloriously theatrical entertainment, complete with showgirls, pyrotechnics and sizzling saxophones. No living director walks that stylistic tightrope with more intelligence and verve than Kosky.

Opera Wire–Eugene Onegin: Barrie Kosky’s Rendition of Tchaikovsky Masterwork Destined to Be Remembered Forever

Onegin 2018 production

May 21 2018
by Santosh Venkatamaran

The Komische Oper in Berlin has soared in reputation under the leadership of Barrie Kosky for its innovative programming.  It is regarded as the destination in town for rarely-performed opera works.

Scheduling an opera trip in Berlin is full of challenges and my maiden journey to the Komische was for the altogether familiar “Eugene Onegin” by Tchaikovsky on Saturday night and it was a winner on all counts.  This co-production with the Opernhaus Zurich was a sparkling version which featured some of the best acting you will see in an opera with all the parts of singing, setting and orchestral music fitting in seamlessly together.

While the cast worked wonders collectively, the star may have been maestro Jordan de Souza. The Kapellmeister at KOB guided a Komische Oper orchestra that formed a luminous sound with Tchaikovsky’s score. One’s heart was pulled along with every melody under the baton of de Souza, who should be heard from in the future.