Paul Selar

@operachaser.bsky.social

Call Melbourne home. Call the world damn exciting. Reviewing opera for Australian Arts Review and Limelight Arts.

The journey home from Bayreuth (Heinersreuth) was stressful but went according to plan — 🚕Alt 394.7 to Bayreuth, @DB_Bahn 🚌 & 🚆Bayreuth-Ingolstadt, 🚌 X108 Ingolstadt-MUC, @ThaiAirways ✈️ TG925 MUC-BKK & TG461 BKK-MEL, @skybus_aus 🚌 and @yarratrams 🚃 75. Smack on 30 hours!

Curtain call for the final evening of the @WagnerFestival Ring looked much the same as every other night — except, when then creatives made their presence, an eruption of boos boomed out like I’d never experienced before. Exceptional music, excellent cast, however!

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The final instalment of the @WagnerFestival Ring 10010110 — From Myth to Code, Götterdämmerung. Are there any surprises to come with Curator Marcus Lobbes’ artistic concept?

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Curtain calls look pretty much the same every night at the @WagnerFestival Ring. At tonight’s Siegfried, Michael Volle’s Wotan & Gerhard Siegel’s Mime stood out as the most convincingly drawn characters. Sadly, Camilla Nylund & Klaus Florian Vogt’s final duet was underwhelming.

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Curator Marcus Lobbes and his kaleidoscopic AI intrusions continue on with @WagnerFestival’s Siegfried this afternoon. Klaus Florian Vogt in the title role — quite a remarkable feat in adding the role to his performance of Loge in Das Rheingold and Siegmund in Die Walküre.

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Today marked the only swimming day so far since being away — a satisfying 2km at SVB Hallenbad, Bayreuth. But it turns out it’s the last day of operation for the summer for this great 50m indoor pool. Outdoor option at Kreuzsteinbad just doesn’t appeal.,

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Defying a relentless distraction of AI-generated imagery, Christian Thielemann is doing a splendid job of elevating Wagner’s music, with tonight’s cast of @WagnerFestival’s Die Walküre in fine form, led by Michael Volle’s powerful, nuanced and text-attentive performance as Wotan.

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Nothing more than a concert performance dressed in AI, so far, with Das Rheingold — despite its musical excellence — the Bayreuth Festival 150th anniversary Ring production appears to prioritize its status as a historical milestone over aesthetic and dramatic substance.

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Today’s streetscape view — outside Bayreuth’s town limits on Heinersreuth’s main street, Bayreutherstrasse, where it’s home away from home for a week during the @WagnerFestival.

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I might never see another staged performance of Rienzi so, thankfully, a compelling, history-making production at @WagnerFestival gave me this rarest chance, led by a trio of formidable artists — Andreas Schager (Rienzi), Gabriela Scherer (Irene) and Jennifer Holloway (Adriano).

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Coming up, a landmark event at Bayreuth’s @WagnerFestival with the staging of Wagner’s Rienzi for the first time — Alexandra Szemerédy and Magdolna Parditka directing with Nathalie Stutzmann conducting the Bayreuth Festival Orchestra.

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A shoestring-budget production that confidently laces together voices, music and design, Lyster Opera’s presentation of Otto Nicolai’s The Merry Wives of Windsor makes for a rewarding, entertaining experience of its source material.

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After more than 40 years of opera, always another first. This time, German composer Otto Nicolai’s 1849-premiered The Merry Wives of Winsdor, here @cityofmelbourne’s Irene Mitchell Studio, South Yarra.

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Gilbert & Sullivan Opera Victoria’s Patience might suffer from a short season but it has a long list of sparkling attributes keeping up the inimitable G&S spirit — and it is entirely worth getting in quickly to chuckle along with it. artsreview.com.au/patience-or-...

Patience (or, Bunthorne’s Bride) | Australian Arts Review

Paul Selar takes a look at Gilbert and Sullivan Opera Victoria's production of Patience - which recently played at the Alexander Theatre – Monash University, before playing at the Queenscliff Town Hal...

artsreview.com.au