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Wagner: Lohengrin (Baden-Baden Festspielhaus)

Wagner: Lohengrin (Baden-Baden Festspielhaus)

Klaus Florian Vogt (Lohengrin); Solveig Kringelborn (Elsa); Hans-Peter König (Vogler); Waltraud Meier (Ortrud); Tom Fox (Telramund); Roman Trekel (King's Herald);

"Whoever believes to already know all nuances ofLohengrin should go to Baden-Baden: soloists, chorus and orchestra are brilliant - and the production leaves barbed afterthoughts in your mind...There has not been aLohengrin like Klaus Florian Vogt, the young tenor fromHamburg, for many years...his voice is pure, clean,whiter than snow. Not of this world. Ideal for this role." (Frankfurter Algemeine)

Wagner: Lohengrin (Bayreuth Festival)

Wagner: Lohengrin (Bayreuth Festival)

Georg Zeppenfeld (König Heinrich); Klaus Florian Vogt (Lohengrin); Annette Dasch (Elsa ); Jukka Rasilainen (Telramund); Petra Lang (Ortrud); Samuel Youn (Der Heerrufer des Königs);

"KFV has been singing the role of Lohengrin for 10 years, but he never before sang it so painfully truthful, so beautiful and pleadingly, powerfully and inspired. Vogt is the miracle of this production." (www.stuttgarter-zeitung.de)

Wagner: Parsifal (Baden-Baden Festspielhaus)

Wagner: Parsifal (Baden-Baden Festspielhaus)

Christopher Ventris (Parsifal); Waltraud Meier (Kundry); Matti Salminen (Gurnemanz); Thomas Hampson (Amfortas); Tom Fox (Klingsor);

"It is by a long way the most thoughtful, positive and penetrating view of Parsifal that I have encountered." (The Times)

Wagner: Parsifal (The Royal Opera)

Wagner: Parsifal (The Royal Opera)

Simon O'Neill (Parsifal); Angela Denoke (Kundry / Voice from Above); René Pape (Gurnemanz); Gerald Finley (Amfortas); Robert Lloyd (Titurel); Willard W. White (Klingsor); David Burr Philip (First Knight of the Grail); Charbel Mattar (Second Knight of the Grail); Dušica Bijeli (First Esquire); Rachel Kelly (Second Esquire); Sipho Fubesi (Third Esquire); Luis Gomes (Fourth Esquire);

"... instead of ignoring or sidestepping the more unsavoury aspects of the libretto, Langridge does attempt to tackle many of them, sometimes in lurid detail, so that the disjunction between them and Wagner's sublime music is often disturbingly clear. There's no doubt of that sublimity in this performance either. Antonio Pappano's approach is both diaphanous and radiant, wrapping the vocal lines in veils of string tone and investing the brass statements with unshakeable authority... Vocally the standard is set by René Pape's immaculate, intense Gurnemanz, who makes every syllable in his narrations matter; O'Neill's shambling Parsifal, his tone slightly raw-edged, is perfectly suited to the production, while Finley manages to bring a dimension of nobility to Amfortas's sufferings, and Angela Denoke's tirelessly sung Kundry is the perfect mixture of the chilly and the unattainably seductive. Every one of them is a fully rounded, fully imagined character, and part of a totally involving, if sometimes problematic unity." (The Guardian)

Wagner: Rienzi (Théâtre du Capitole, Toulouse)

Wagner: Rienzi (Théâtre du Capitole, Toulouse)

Torsten Kerl (Rienzi); Marika Schönberg (Irene); Daniela Sindram (Adriano); Richard Wiegold (Colonna); Stefan Heidemann (Orsini); Robert Bork (Cardinal Orvieto ); Marc Heller (Baroncelli );

"[Steinberg's] reading of Rienzi, too, was full of energy and vitality, well suited to what this music needs. He got a great performance from the Capitole’s orchestra, which is the best in some 400 miles around. The Choirs were also excellent in a very demanding opera for them. [Torsten Kerl] was excellent all along and it can be considered a luxury to have him as Rienzi in Toulouse." (Seen and Heard International)

Wagner: Tannhäuser (Bayreuth Festival)

Wagner: Tannhäuser (Bayreuth Festival)

Torsten Kerl (Tannhäuser); Kwangchul Youn (Landgraf Hermann); Markus Eiche (Wolfram von Eschenbach); Lothar Odinius (Walther von der Vogelweide); Thomas Jesatko (Biterolf); Stefan Heibach (Heinrich der Schreiber); Rainer Zaun (Reinmar von Zweter); Camilla Nylund (Elisabeth, Nichte des Landgrafen);

"Camilla Nylund’s Elisabeth and Kwangchul Youn’s Landgraf deservedly received the most applause at the curtain calls" (Bachtrack)