Film / operafilm

Die tote Stadt


Reviews (15)


The guardian

d. 28. Nov. 2013

By

By

Tim Ashley

d. 28. Nov. 2013

" Kasper Holten's 2010 Finnish National Opera production updates the work to 1920, when it was composed ... Klaus Florian Vogt excels as the wild-eyed, obsessive Paul, desperately trying to make over Camilla Nylund's slutty Marietta in saintly Marie's image. Mikko Franck's conducting is to die for".


The guardian

d. 12. Aug. 2021

By

By

Andrew Clements (musikanmelder)

d. 12. Aug. 2021

"It could hardly be better cast. Jonas Kaufmann is the recently widowed Paul, whose obsession with his dead wife Marie leads him to imagine that he has found her again in Marietta, a dancer he meets by chance; Marlis Petersen takes the double role. Simon Stone's production updates the opera to the present day, with an anonymous apartment replacing the original setting of the "dead city" of Bruges, and gives a cinematic quality to Paul's hallucinatory dreams. But it's Kirill Petrenko's impassioned conducting that really makes the performance compelling: he clearly cares passionately about every note of the score, its overripe romanticism and all".


Presto classical

d. 23. July 2021

By

By

Katherine Cooper

d. 23. July 2021

"Recording of the week: Both Kaufmann and Petersen are utterly fearless in squaring up to the formidable vocal and emotional demands of the central roles ... The third knock-out performance comes from the pit: Petrenko clearly adores this score, and ensures that every detail of Korngold's precociously brilliant orchestration comes across loud and clear".


Klassisk

2021, nr. 63

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By

Andrew Mellor

2021, nr. 63

"Operaen 'Die tote Stadt' er i toppen ... Under dette drama finder man musik med lyrisk skønhed, en ekspressionistisk hårdhed og spændende orkestrale nyskabelser, som Korngold sjældent anerkendes for ... Denne jubilæumsopsætning fra den bayriske statsopera består af et stjernehold. Jonas Kaufmann synger og spiller Paul med lidenskab, nobelhed og en utvetydig ømhed, som er naturlig for hans stemme. Marlis Petersen er perfekt som den kokette Marietta ... Husets tidligere musikchef Kirill Petrenko trækker en ømhed, lyrisme og tematisk klarhed ud af partituret".


BBC music magazine

2014 January

By

By

Jessica Duchen

2014 January

"Holten's staging for the Finnish National Opera is inventive - sometimes startlingly so - but doesn't overload the narrative with imposed extra concerpts. He allows the drama ... to shine ... [Vogt's] open-toned singing is extraordinarily precise ... A glowing Korngold treat".


Klassisk

2014, nr. 32

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By

Steen Chr. Steensen

2014, nr. 32

"Kasper Holten ... har Die Tote Stadt oppe på den finske nationalopera og har skabt en radikal anderledes og overrumplende logisk udgave, som på smukkeste vis forløser de mange lag i operaens dramaturgi ... Oven i dette et hold sangere, som suverænt synger og spiller sig ind i Korngolds sære univers ... Alt går op i en højere enhed i denne opsætning".


Opus

2013, nr. 48

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By

Jörgen Lundmark

2013, nr. 48

"Melodisk operett, sirligt fullödig senromantik och rytmiskt sprudlande avsnitt blandas ... Det är just det som Heinrich Hollreiser och hans ensemble tar fasta på, allra mest de två mycket imponerande huvudrollsinnhavarna James King och Karan Armstrong. Götz Friedrichs regi är både precis och detaljrik, och tillsammans med en realistisk och tidstypisk scenbild gör det här till en exceptionellt lyckad uppsättning".


BBC music magazine

2013 February

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By

Malcolm Hayes

2013 February

"Götz Friedrich's powerful staging of Korngold's fantasy is performed with sumptuousness, led by Armstrong's Marietta (unsteady) and King's Paul (solid)".


International record review

2011 November

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By

Roger Pines

2011 November

"Some listeners gladly wallow in the score's hyper-emotionalism and extravagant lushness, but three acts' worth echausts me ... Pizzi directs the work with welcome straightforwardness ... the camerawork misses a great many details onstage".


BBC music magazine

2011 November

By

By

Jessica Duchen

2011 November

"The orchestra rather struggles with Korngold's heavy-duty technical demands, which seems to keep the tempos down ... Filming is enjoyable".

Vurdering (performance): 4/5.

Vurdering (picture & sound): 3/5.


The gramophone

2021 Awards

By

By

Richard Bratby

2021 Awards

"Editor's choice: While Stone's updated setting might upset purists, there's a depth and emotional intelligence to this staging that disarmed my initial resistance ... The central performances are magnificent, with Kaufmann giving a detailed, believably frayed portrayal of a man struggling to hold on to his dignity as his life unravels ... Petersen's performance is, if anything, even more compelling. She's a multilayered Marietta, with countless vocal inflections and small gestures revealing an underlying tenderness and sympathy ... The other roles are just as persuasive ... Petrenko in the pit, has an absolute command of texture and tension ... On every level, a glorious achievement".


Klassisk

2021, nr. 62

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By

Andrew Mellor

2021, nr. 62

"Korngolds opera 'Die tote Stadt' har længe været en favorit blandt operaelskere, men den er endnu ikke slået igennem i det almindelige repertoire ... Jonas Kaufmanns præstation i Simon Stones opsætning var en af de mest omtalte i 2019. Marlis Petersen var også formidabel i rollen som Marie/Marietta, Pauls døde kone og den nye kæreste, som han tror er sin afdøde kone. "Det er svært at forestille sig en bedre opsætning af 'Die tote Stadt' end den, der var i München", skrev New York TImes".


Fono Forum

2021 Oktober

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By

Manuel Brug

2021 Oktober

"Der formidable Kirill Petrenko macht Hör-Lust auf diese so seltsam zwischen letztem, spätromantisch dekadent sich verströmendem Welstschmerz und harsch psychoanalytischer Sachlichkeit sich auspendelnder Oper. Simon Stone inszeniert ... sehr stimmig ... Jonas Kaufmann singt den für ihn eigentlich zu hoch liegenden Paul mit erstaunlicher Kraft ... Marlis Petersen in der weiblichen Doppelrolle bleibt spielerisch die Somnambule als schöne Teilnahmslose, aber ihr glissandohaft die Töne anschleifender Sopran mit seiner penetrierenden Höhe hat eine lohnende Aufgabe".


International record review

2013 December

By

By

Roger Pines

2013 December

"This is a work fraught with thorny challenges, all of which are intelligently handled by Holten and his team ... Without being ideally cast, Vogt and especially Nylund manage creditably in their near-impossible roles ... On the podium, Mikko Franck ... offering them wonderful support ... FNO's always excellent orchestra covers itself with glory ... Even with a good rather than great cast, I'd rate FNO's production as the current first choice for Korngold's opera on DVD".


The gramophone

2014 January

By

By

Mike Ashman

2014 January

"There is no audible sign that this not-so-mini Tristan of a role is too heavy for Klaus Florian Vogt's tenor, while Camilla Nylund's Marietta/Marie ... is in dream form, untiring, concentrated, rapturous of tone. A huge achievement. The orchestra encompass this far from easy (and, surely, unfamiliar) score with great panache for their chief ... This new release is undoubtedly a musical triumph".