“Rusalka,” Staatsoper Unter den Linden, Feb. 4-22
Antonin Dvorak’s 1901 opera “Rusalka” hovers on the edge of the typical repertoire. The lyrical and soaring aria “Song to the Moon” is superior recognized than the relaxation of this darkish and symbolically abundant adaptation of Hans Christian Andersen’s “The Tiny Mermaid.” The Hungarian filmmaker Kornel Mundruczo directs the to start with new production of “Rusalka” at the Berlin Staatsoper in in excess of fifty percent a century. The British maestro Robin Ticciati, songs director of the Deutsches Symphonie-Orchester Berlin, conducts the lush and commonly melancholy score.
Vienna
“Animal Farm,” Wiener Staatsoper, Feb. 28-March 10
The Russian composer Alexander Raskatov’s “Animal Farm” comes at the Vienna Condition Opera in late February, in a production by the Italian director Damiano Michieletto. Reviewing the work’s planet premiere in Amsterdam earlier this yr, Shirley Apthorp, the Economical Moments’s opera critic, praised Raskatov’s “violent, persuasive sound-environment, percussive and angular, full of uncomfortable truths” in this operatic setting of Orwell’s famed allegory of the Russian Revolution. The British conductor Alexander Soddy sales opportunities the work’s Viennese premiere.
Franz Welser-Möst and the Wiener Philharmoniker, Feb. 22-26
In the initially of five February live shows with the Vienna Philharmonic, Franz Welser-Möst, the previous basic music director of the Wiener Staatsoper and longtime leader of the Cleveland Orchestra, tackles Mahler’s towering and elegiac Ninth Symphony at the Wiener Konzerthaus. On subsequent packages, carried out in the Musikverein, the Austrian maestro prospects the Viennese in operates by Ravel, Hindemith, Schoenberg, Berg, Bruckner and Richard Strauss.
West Side Tale, Volksoper Wien, Jan. 27-March 24
In late January, audio by Leonard Bernstein will resound via Vienna’s opera homes. Shortly following the American director Lydia Steier unveils her “Candide” at the MusikTheater an der Wien, a new “West Facet Story” arrives at the Volksoper, the city’s common operetta and musical phase on the other side of city. (The house’s other productions this time consist of “Die Fledermaus” and “Aristocats.”) For the director Lotte de Beer’s rendition of the quintessential American boy-satisfies-woman musical, executed in a blend of German and English, the Puerto Rico-born, New York-elevated choreographer Bryan Arias updates Jerome Robbins’s common dance moves.
