Otello in Berlin (2)

• Apologies to all of you who I owe an e-mail -- (i) I so suck in catching up with mails, (ii) I was really-really extra  busy

If you can make it and go to Berlin to see this new Otello, you should. With all the FANTASTIC shows at the Komische oper [by far the best opera-theater in the World!], there is no better place to spend several days and see well produced, challenging and inspiring opera-shows.

As I mentioned in my post about the premiere of Otello in Berlin, contrary to my habits, I decided to stay for the post-premiere party at the Deutsche Oper.



Party was OK. The purpose -I guess- was to bring everyone together and celebrate the successful premiere + bring the production team closer to public.

I guess I'd have had more fun if I actually lived in Berlin and knew more people and opera aficionados: there is no point in mingling around if -of a couple of hundreds of people- you know only 3 persons in the whole atrium. And what's the party if you don't mingle?! ;)

The ceremonial thing began with Kirsten Harms (the DOB-intendant) who gave a short speech about how thrilled, happy and proud they all are with a sense of having accomplished something big, this project was big indeed --  it took them years to bring it to life.
Kirsten is a distinctly goodlooking woman with very hoch manners -- which translates into a peculiar form of seductiveness. That allure must be her secret! ;)

 Kirsten Harms

Andreas Kriegenburg was greeted with loads of Bravos [that's why I stayed!;)] which soon got drowned in as many boos. From his cringe you could read that he was troubled by the crowd's reaction.  It's a learning process for him and if he's to produce more operas [especially those from this common repertoire] he has to learn to cope with the boos, and perhaps even go step further and pump the inspiration from the boos the way Warlikowski does it, for example.
I felt it was so unjust to boo the man who produced such a unique and unconventional Otello -- but on the second thought it's maybe that  the reason why the boo[e]rs booed...

 Andreas Kriegenburg

His production team, instead, was cheered, but the first big ovation came when Patrick Summers (conductor) appeared.

 Patrick Summers

Then the singers showed up.
I took a photo of  the superb young Korean singer, Hyung-Wook Lee, who's currently a member of the DOB crew and I could bet he will be a big name in the years to come.

 Hyung-Wook Lee (behind Patrick Summers)

The huge ovations of course came when Anja Harteros appeared. She must have been tired after all the effort and adrenalin ruch  of the premiere, but she was nice, looked happy and very patient and kind with her fans.

Zeljko Lucic received big ovations too,

as well as Jose Cura

The whole production team looked happy, and for a good reason: the show was impeccably realized, every singer delivered his/her best, the chorus and orchestra were excellent, and the direction was remarkable -- distinguishable, simple yet profound.

What surprised me at the Deutsche Oper were the courtain calls: they went on and on and on and on, and even when the auditorium was getting progressively empty, the singers and the conductor would reappear to salute and bow as long as there were people loudly applauding.

En passant, I noticed the guys from the Komische Oper at the party, and Barrie Kosky in person. On the other hand I didn't notice anyone from the Staatsoper (maybe there were some of them in the crowd  but I didn't recognize anyone).

But to me the flower of the evening was:

 Anja  Harteros