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Now we have , a Zeitoper (opera of everyday life) described by Strauss as "Eine Brgerlicher Kom-die mit sinfonishen Zwischenspielen" (bourgeois comedy with symphonic interludes) and by me as "une gageure" (a challenge).
Yvonne Kennedy as Christine in the hands of Anna the chambermaid, played by Lynda Russell This deliberate cosmopolitan frolic leads inescapably to the language problem.
The put-upon Strauss servants are splendid, especially Lynda Russell's chambermaid.
Can you be unforgettable as podgy, slow-witted idler? Norwegian Tom Erik Lie, personable and strong-voiced, makes a triumphant British debut as Robert/Richard. In glorious voice, rarely off-stage, she holds us all with pouts and passions and silliness, impossible, irresistible, in love with the husband she berates.
Jeannine Alton reflects on a sparkling Strauss success at Garsington Opera Stalwarts of the Garsington repertory are predictably Mozart, Haydn, Rossini, and less predictably, Richard Strauss.
Recent years have brought us his excursions into Greek mythology.
Michieletto’s track-record may be studded with as many flops as hits, but a profile in the current edition of Opera magazine suggests he’s nothing if not serious: he wants to provoke thought, but positively, and his approach to the beginning of Mascagni’s bears this out.