Highlights from 2005


Prior to 2010 I did not write regularly.  I found most records from 2009 (now posted on this blog), but right now the only reliable musical notes from 2004-2008 are in my annual year-end highlight summaries, so I am posting these until I locate more in my archives.

Best opera: Dmitri Schostakowitsch, Lady Macbeth of Mtensk, Hungarian National Opera (October). I have wanted to see this opera for many years, and found this straightforward production and repertory cast quite satisfactory and gripping.

Most unusual opera: George Enescu, Oedipus, Vienna State Opera (April). I did not know this opera at all, but was pleasantly surprised. It would have been the best performance I saw in 2005, if it were not for the Regietheater staging imported from Berlin. The director should please be deported back to Germany. Please.

Most fun at the opera: Ferenc Lehar, Der Graf von Luxemburg, Volksoper Wien (October). The director (not German) decided that the plot was silly, so he rewrote it keeping the music the same. This was neither Regietheater nor an “updated” plot, just different. I have no idea what opera I really saw, but I had fun.

Best concert: this was more of a year for operas than concerts, to be honest. If I have to pick one concert of non-standard repertory, I will single out a performance of one of my favorite oratorios, Franz Schmidt’s mystical Das Buch mit Sieben Siegeln (based on the Revelations of St. John, Schmidt’s vision of the Apocalypse fittingly had its premiere shortly after the Nazis marched into Vienna), with the Tonkünstler Orchester Niederösterreich under Kristijan Järvi and a dramatic Robert Holl singing the Voice of the Lord from the Musikverein balcony, in Vienna (October). Thankfully, no German directors thought to stage this performance.