Reports of Fleming’s retirement – touted since 2017, when she sang her last Rosenkavalier at the Met – have been greatly exaggerated, and she has continued to choose her appearances selectively, moving away from the obvious roles and favouring new work. The Strauss was a return to classic territory for a soprano synonymous with the composer’s heroines, a poignant perspective on a work that looks back over its shoulder with a smile before heading into the sunset.
Thomas Guggeis made his conducting debut with the London Philharmonic (Courtesy of London Philharmonic Orchestra via Georgie.Blyth@lpo.org.uk)
But if most of the crowd were there for Fleming, there must also have been a few curious to see Guggeis’s debut – one of a long list of prestigious firsts this season for the young German conductor whose name is already being coupled with some pretty starry jobs. Reports from Germany and the Met have been exciting, and – with plenty of high-profile Wagner already under his belt – a sequence of the composer’s overtures offered a chance to take his temperature.
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Guggeis clearly has plenty to say, but it’ll be nice when he doesn’t feel the need to say it all in every piece.
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