#konwitschny

[bobdobalina]

Cover art to Der Ring des Nibelungen and Parsifal: Orchestral highlights vol. II, Franz Konwitschny conducting the Munich State Opera (Bayerische Staatsoper), Urania Records (URLP 7065), 1952.

Artist uncredited, possibly Siegmund Forst, Frank Parisi, or Robert Galster. UPDATE: Jonas as Midcentury Classical dot com attributes it to Sam Norkin.

[infinitelytheheartexpands]

Thaïs (La Scala, 2022): Reactions, Part III

let’s finish this up!

WHY ARE YOU STILL HERE

*sudden flashbacks to the peter konwitschny production of this opera*

oh no oh thaïs

where the fuck is the sun it’s dark out here

also athanaël you’re not helping at all

“well i guess i’ve been a bit too much of a douchebag so…can we act like we’re totally platonic companions”

also: just me but i could NOT make this kind of trek without gps i’d get lost SO fast

i just love her so much

such a beautiful duet sung so marvelously

(also, i am fully convinced that if they didn’t have all this baggage and they weren’t destined to have their paths cross for only a short time, they would be GREAT friends)

OH HE WENT FOR IT (but got cockblocked by the nuns lmao)

what did you think was going to happen once you put her in a convent, genius?

AND NOW YOU GET IT!!!

yeah how’s this working out for you NOW?

“I TOLD YOU. I TOLD YOU THIS WAS A BAD IDEA. AND DID YOU LISTEN??? NOOOOOOOOOOO”

Area Baritone Isn’t Doing Too Well And Is Also Hallucinating Marina Rebeka

The Horrors TM

tfw you have a vision telling you your creepy obsession is dying

oh we’ve got REAL FIRE

that’s…rough buddy

skeleton continues to be there!

okay but i have to ask: are you taking the whole “thaïs’ body being destroyed” thing as the sign that her sins have been forgiven? bc i don’t think that’s how it works

here we go—one of the most beautiful, wrenching final scenes in all opera!

it’s just this delicious irony: sinners becoming saints and saints becoming sinners, as it were

they are MARVELOUS together

just totally SHATTER me would you???

[classicalmusicdaily]

Zoltan Nagy started his international career as the youngest ensemble member of the Vienna State Opera. Recognized by opera critics for his strengths in both dramatic and comic roles, he is regularly invited to perform as a guest artist in many of Europe’s leading opera houses. Zoltan’s most requested role is Escamillo (Carmen), a role he has performed in over 12 productions in theatres like Bilbao (ABAO), Teatro Massimo di Palermo, Teatro Grande di Brescia, Teatro Ponchielli di Cremona, Teatro Sociale di Como, RTE Orchestra in Dublin, Romanian National Opera Bucharest and Cluj, the Shaanxi Grand Opera House in China, the State Theatre of Nuremberg, among others. As a permanent guest soloist of the Hungarian State Opera, Budapest, Zoltan has been invited to perform the role of Guglielmo (Cosi Fan Tutte), Silvio (Pagliacci), the title role in Kodaly’s Hary Janos, and Schaunard (La Bohème), a title he has performed at Oper Leipzig, Opera de Nice, Singapore Symphony Orchestra (in concert), Vlaamse Opera Antwerpen, and Opera Ghent among others. Zoltan made his Bolshoi Theatre of Moscow debut with the role of Count Almaviva (Le Nozze di Figaro). He has sung Haraschta (The Cunning Little Vixen) at the Hamburg State Opera, Dr Falke (Die Fledermaus) at Teatro Verdi Trieste, Calchas (Iphigenie en Aulide) in Athens, Schmied (Egk’s Peer Gynt) in Theater an der Wien, where he also had the privilege to join Edita Gruberova for her gala concert. Zoltan made his debut as Alberich (Siegfried) at Teatro Campoamor in Oviedo. He sang Marcello in a new production of La Bohème at Teatro Comunale di Sassari, portrayed the role of Dulcamara in a new production of L’Elisir d’Amore at the Romanian National Opera, and was invited to give masterclasses at the Xi’an University of Music in China. Count Tomski was a role debut in a new production of Tchaikovsy’s Pique Dame at the Opera Festival Heidenheim accompanied by the Stuttgarter Philharmoniker. Zoltán returned to Oviedo for a new production of Götterdämmerung where he performed the role of Alberich. He sings the role of Theseus in the Essen Philharmonic’s CD live recording of Bohuslav Martinu’s Ariane directed by Czech conductor Tomas Netopil, released in 2016 on Supraphon. Zoltan has worked with conductors such as Marco Armiliato, Pinchas Steinberg, Ulf Schirmer, Renato Palumbo, Fabio Luisi, Marc Minkowski, John Wilson, Alejo Perez, Tomas Netopil, Guillermo Garcia Calvo, Leo Hussain, Marcus Bosch among others. Some of the stage directors Zoltan has collaborated with are: Peter Konwitschny, Damiano Michieletto, Inga Levant, Stefano Poda, Calixto Bieito, Paris Mexis, Thorsten Fischer, Georges Delnon, Maurizio Scaparro, and Immo Karaman. He has collaborated with the Vienna Philharmonic, Robert Schumann Philharmonie, RSO Vienna, Vienna Symphony Orchestra Singapore Symphony Orchestra, National Taiwan Symphony Orchestra, Orchestra of the Romanian National Radio, Hungarian National Philharmonic Orchestra among others. Zoltan studied at the Gheorghe Dima Music Academy in his hometown Cluj-Napoca under Professor Gheorghe Roşu. Upon graduation, he received a full scholarship to study at the prestigious Mozarteum University in Salzburg for a Masters degree in voice performance with Professor Boris Bakow. He has won prizes at various singing competitions including the Romanian National Song Competition, the Hariclea Darclee International Voice Competition, and “Debut”, the European Opera Singing Competition in Germany. In 2012 Zoltan participated in the Salzburg Festival’s Young Singers Project, and was then selected to sing in the Festival’s production of Das Labyrinth. Recent engagements included two new production of La Wally and Jenufa at Theater an der Wien, a new production of The Raise and Fall of the city of Mahagonny in Parma. Future higlights of his saison include a debut at Regio Torino as Escamillo, a ROH debut in La Bohème as Schaunard and a debut at Komische Oper Berlin in the Love of the three oranges as Leander.

Dear Zoltan, I’m so glad to meet you, this time in Italy! And I am very much looking for- ward to your house debut at Teatro Regio di Parma! What has been your relationship with the Italian theatres throughout your career and what does this event mean to you? In my nearly 15 years of international career I have been lucky enough to be part of some wonder- ful productions all over the world starting with Vienna until Singapore, but singing ocasionally in Italy, becomes each time on of the highlights of my season. My first ever concert accompanied by an orchestra abroad was actually in Palermo when I was 22. Since then I was dreaming about singing one day at Teatro Massimo which was closed for renovation those years. Several years later my dream came true and I was indeed portraying the role of Escamillo in that amazing opera house… I always used to say, that a part of my heart is in Italy. I’ve also worked on several occa- sions at Teatro Verdi in Trieste, one of them was a very funny production of Die Fledermaus (Dr. Falke) with the late Gianluigi Gelmetti conducting who I was very fond of. I have beautiful memo- ries of Sardegna where I’ve done a new production of La Bohème as Marcello, and later a Pagliacci as Silvio. Singing at Teatro Regio in Parma is an absolut honor for me not only because of the enormous tradition that surrounds this opera house but also because of the fact that I am a guest artist in a very unusual production that should make history in Parma. Tell us more about this opera, about the role that you’re about to perform and the produc- tion that will be on stage at Regio di Parma this month (April)? Rise and Fall of the City of Mahagonny is an opera, although I like to call it rather music theater/ music play… composed between 1927-1929 by Kurt Weill on Bertold Brecht’s libretto, where I will interpret the role of Trinity Moses. When I first saw the score, I said to myself… “oh, I’ll deifinitely need some time to learn this music and get used to certain rhytms“. I’ve seen it challenging but I ended up having great fun singing this part and enjoying Weill’s geniality. The opera was a scandal on its premierere in Leipzig in 1930, presenting the decandece of the society which is more then actual nowadays where money is everything. I hope the audience will be receptive, of course, one should not expect a coservative staging for this type of music. I’m sure everyone will leave the the- ater whistling the Alabama song at the end of the performance… and realizing hopefully how en- joyable this music is. reposted from https://opera-charm.com/

[officialwagnerrant]

Recommendation

Der Fliegende Holländer Staatskapelle Berlin, conducted by Franz Konwitschny

Type: Audio recording (Studio)

Composer: Richard Wagner

Opera: Der Fliegende Holländer/The flying Dutchman

Year: 1962

Staatskapelle Berlin, conducted by Franz Konwitschny; with Gottlob Frick, Marianne Schech, Dietrich Fischer-Diskau, Sieglinde Wagner, Rudolf Schock and Fritz Wunderlich, Chorus of the Deutsche Staatsoper Berlin

Full review under the cut.

As some of you may know I’ve never been quite fond of the flying dutchman. I feel as if Wagner hadn’t found his style yet when he composed the Holländer, allthough I do enjoy the earlier opera, Rienzi. I feel like the Holländer lacks a red thread, something that keeps the opera together. I feel like you can’t lose yourself in this opera like you can in his other works. Individually the music is no doubt almost equally fascinating as his later works.

Franz Konwitschny and the Staatskapelle Berlin solve this problem. Under Konwitschny’s conducting the Holländer is a real entity, everything fits. The phrasing and dynamics are also excellent and fitting. I also loved the chorus (Chorus of the german state opera Berlin), you can hear individual voices everyone of them outstanding, the chorus sounds very alive and especially the ladies blew me away.

Now, let’s get to the soloists.

Senta - Marianne Schech I only heard her as Venus before and found her a little too light for that role. Now as Senta she was nearly perfect. Many Sopranos tend to sound quite piercing at the high notes, she kept a warm sound throughout the whole opera and was incredibly pleasant to listen to. Strong voice and the right emotions at the right places. Also shoutout to her diction, I was able to understand every single word.

Erik - Rudolf Schock @swanfloatieknight​ and I sometimes make fun of this poor character and say Erik is too weak. And when I had to write a review about the performance I attendet with my class I straight up forgot him. Rudolf Schock makes it impossible to forget about him. He’s your typical Heldentenor, full, dark, strong voice. He sings Erik as emotional, loving and worried, but also gives him some backbone. He doesn’t leave Senta because he has no chance or can’t handle her anymore, he doesn’t want it anymore. He doesn’t want to watch her swoon over some mythical ghost captain anymore.

Holländer - Dietrich Fischer-Diskau First of - I love is voice. It is full and dark, but not heavy. It’s like a deep and yet floating sound which never fails to amaze me. This quality is actually really fitting for a cursed, ghostly man like the flying dutchman. I loved his Wolfram von Eschenbach, I might review this recording at another time, but this is about the Holländer. What I really enjoyed in Rudolf Schock’s performance bothers me with him: He seemed a little too strong, lacked disappointment and other softer emotions. Of course this is a matter of interpretation, yet as someone who loves the more vulnerable Holländers and as someone who knows Fischer-Diskau can sing those emotions I was a little disappointed.

Mary - Sieglinde Wagner I can’t really say much to Mary, it’s too small of a role. She was nice, was rather angry at Senta than worried. At least that’s what her scolding sounded like. Also I love Sieglinde Wagner’s voice.

Daland - Gottlob Frick Big love. Of course Daland isn’t the best dad, he more or less sells his daughter to the Holländer. This get’s a little lost in Frick’s interpretation, he sounds truly fatherly, like a good dad. His voice is fantastic, dark, full. He sounded really calm, some Dalands get a little overenthusiastic at “Mögst du, mein Kind”, not him. Really pleasant to listen to him. Voice-wise one of my favourite bass singers.

Steuermann - Fritz Wunderlich His Steuermann is exactly what you’d expect from the great Fritz Wunderlich - natural, emotional, pure. In this recording his voice also sounds quite dramatic. I admit that every time I see his name on a Wagner recording there’s a tiny bit of hope he actually sings the leading tenor, which of course is never the case since this astounding singer died way to early. In this regard hearing him as the Steuermann does not only amaze me but also makes me sad since, in my opinion, you can hear that he was ready to tackle the big wagner roles already in 1962. He’d been such a great, maybe near perfect Lohengrin, an incredibly raw and a captivating Parsifal, a fascinating Erik. It is a tragedy that never fails to sadden me that he was forced to leave earth so early and in such a sudden, let’s call it what it is, frustrating way.

All in all this recording managed to do what a live performance did not: It made me love the first of the ten works performed at the Bayreuth Festival, which is why I warmly recommend you this outstanding recording.

[cicaktraka]

La Juive (February 1835), Fromental Halévy production by director Peter Konwitschny (April 2019)

[mozart2006]

Medea alla Staatsoper Stuttgart Esito artistico in complesso abbastanza modesto, per questa produzione della Medea di Cherubini che costituiva il secondo nuovo allestimento... QUI potete leggere il resto della recensione

[raspberryhunter]

all right, RL Opera Friend and I exchanged DVDs at church today; I gave her back her Ballo and Forza and she gave me four DVDs:

I Vespri Siciliani (Teatro Comunale di bologna, 1986, has Nucci)

Il Trovatore (ROH 1996, Cura, Hvorostovsky; what is hilarious to me is that it’s Manrico and Luna who are shown on the front DVD cover; Leonora doesn’t make it until the back) 

L’Elisir d’Amore (I had told her that I was ready to try Donizetti again, after some bad experiences with him earlier in life... this one has Villazon, Netrebko, Nucci, and D’Arcangelo, so the worst thing that happens is that I enjoy the singing a lot)  

Tristan und Isolde, which I’ve never watched (Bayerische Staatsoper, West, Waltraud Meier, Kurt Moll) but feel like I should. Though I am taken a little aback by the DVD cover, which states “In [Peter Konwitschny’s] hands, the towering Wagner opera becomes an optimistic work about two people who succeed in finding love,” which... is not... what I thought this opera was about at all?

Anyway, I’m gonna watch the Trovatore first!

[ulrichgebert]

In der Oper steht es auch nicht zum Besten. Gemetzel, Blutrausch, Rachegelüste allenthalben, und der Countdown läuft unerbittlich. Es ist die 30. Aufführung einer neunzehn Jahre alten Inszenierung, so daß ich wohlmeinend annehme, daß einiger dererer subtileren schauspielerischen Ansätze in Vergessenheit geraten sind, während der Tobi quengelt: "Schade, dabei hätte das solches Potential gehabt." Elektra (mitte) singt auch nicht besonders schön, man weiß nicht, ob das wegen der Rachegelüste ist, die sie plagen, oder ob sie es nicht besser kann.

[infinitelytheheartexpands]

La juive (Geneva, 2022): Reactions, Part I

ENFIN!!!!!!!!!!

MARC MINKOWSKI MY BELOVED

okay this looks so cool

omg no don’t attack them

(update: surprisingly and thankfully, they did not)

hey you’re supposed to be in church right now so maybe be in there and mind your own fucking business

“the power of christ compels you! THE POWER OF CHRIST COMPELS YOU!!!”

“…i’m jewish, not a vampire”

JOHN OSBORN MY BELOVED

léopold you shady little motherfucker

“the hussites have been defeated—”

“EYYYYYYYYYUP THAT WAS ME BITCHES”

i love when Abstract Organs Are There

time for a Public Service Announcement TM

free alcohol: the fastest way to excite a crowd

omg no don’t attack his shop

OMG NO DON’T ATTACK MY BABY

TELL ‘EM OFF ÉLÉAZAR

hmm. interesting!

rip to his family (unless…)

AWWWWWWWWWWWWWWWWWWW 🥺

can you be friends after such shit has passed between you??? can you even not hate each other???

when an aria turns into a gorg ensemble *chef’s kiss because halévy was a master*

they don’t know it but…

TAKE RACHEL’S NAME OUT OF YOUR FUCKING MOUTH

“oh hi orchestra thanks for helping with my seduction serenading”

spicy times

admittedly this is some very spicy music

léopold more like “i wanna get laid-o-pold”

she’s so adorable i can’t

“uh…yeah. just like you. totally jewish.”

love the church bell addition

love the look

interesting choice!

day drinking a little too hard

this is literally the SECOND time in the past THIRTY minutes you have threatened to MURDER them

and i oop

okay her voice kinda reminds me of Anna Caterina Antonacci’s 😍

halévy went OFF with this absolute banger

EXCELLENT use of film

yeah léopold you have a WIFE and KIDS what is WRONG with you

them against the world 💔

THE LOOK ON HIS FACE LMAOOOOOOOOO

(also: bling)

and the party and the antisemitism go on!

sometimes just EXISTING is an act of indescribable bravery

actual picture of me trying to not burn myself with matches (and usually failing)

léopold: imma yeet the matzoh

rachel: dude what the fuck

GOD TIER SINGING AND ACTING FROM JOHN OSBORN

AWWWWWWWWWW (again)

uh oh…

words cannot describe how much i hate this wig

also: TIME FOR MY FAVORITE TRIO IN THIS OPERA

okay tbh the outfit kinda pops off tho

like the detailing on the bottom of the coat!!!

NOT LÉOPOLD HIDING FROM EUDOXIE IN PLAIN SIGHT PLEAAAAAAASE

you done fucked up boy

the assignment was apparently to do stereotypical diva poses and by GOLLY she understood the assignment

a) the dress pops off

b) WHAT IS THE DANCE THE LADIES ARE DOING IN THE BACKGROUND LMAOOOOOOOOO

AWWWWWWWWWWWWWWW (again, yes. they are just SO PRECIOUS pls let them be happy)

this is EXQUISITE

still like the Konwitschny staging of this trio better because a) no weird cuts and b) ALL the chaotic energy but this, like the rest of the show so far, is very good!

to be continued later :)

[reziprok]

Trailer: La Traviata - Oper Graz

[demoura]

MEMÓRIAS “ CINTILANTES “ A COSI FAN TUTTE DE PETER KONWITSCHNY NA KOMISCHE OPER BERLIN 2006 (1) : junto-me ,com a devida modéstia , aos melomanos que , a propósito da COSI FAN TUTTE na Gulbenkian a 18 e 20 deste mês da evocam as suas experiências . Eu fugirei aos lugares mais cosmopolitas , mais chics e irei em busca de duas marcas singulares . A primeira foi em 2006 na Komische Oper de Berlim numa produção de Peter Konwitschny que examina o sexo como uma força eruptiva da natureza que precisa ser aceita como tal se quisermos viver com ele. Konwitschny redefiniu a obra-prima de Mozart em termos da cultura que a produziu. Cosi é contemporânea das obras de Sade, Rousseau e Laclos, e tem muito em comum com suas filosofias de amoralidade natural e suas ideias de que a sociedade vê o sexo como um jogo, cujas regras são inevitavelmente quebradas pelas emoções que ele desperta. Os seus cantores criaram uma performance impactante sob o maestro Markus Poschner, com o tenor Peter Lohdahl brilhando um pouco mais do que seus colegas em sua interpretação das virtuosas árias solo de Ferrando.

Primeiro encontramos Fiordiligi e Dorabella (Maria Bengtsson e Stella Doufexis), enquanto adolescentes, habitando um jardim edênico e segurando bonecos soldados que representam os seus amantes idealizados. Destruido em 1945 o teatro reabriu com Die Fledermaus de Johann Strauss sob a direcção de Walter Felsenstein. Nos anos que se seguiram a abordagem do austriaco teve grande influência no teatro musical da Europa. Os sucessores de Felsenstein na Komische Oper - Joachim Herz, Werner Rackwitz/Harry Kupfer, Albert Kost/Harry Kupfer, Andreas Homoki - continuaram o compromisso para uma opera contemporânea .O actual e famoso Barrie Kosky continua a tradição de seus antecessores. HOJE QUEM NÃO CONHECE A KOMISCHE OPER ESTA EM PERDA .Em 2013 (pela segunda vez depois de 2007) a ópera foi eleita a ópera do ano pela revista especializada »Opernwelt«. Em 2015, os solistas do coral foram nomeados »Opera Choir of the Year«, em 2016 Barrie Kosky foi nomeado »Director of the Year«. O conjunto da Komische Oper Berlin ganha o International Opera Award em 2015.

[korrektheiten]

Wieder ein Opfer der political correctness: Opernregisseur Peter Konwitschny muß gehen

Zuerst: Nürnberg. Die political correctness frißt ihre Kinder. Jetzt traf es einen Altmeister des bundesdeutschen Regietheaters, der mit seinen dubiosen und alles andere als werkgetreuen Inszenierungen […] Der Beitrag Wieder ein Opfer der political correctness: Opernregisseur Peter Konwitschny muß gehen erschien zuerst auf ZUERST!. http://dlvr.it/SDBP20

[kalscho]

(via https://open.spotify.com/track/3zn2aO8xvczwnRz9Dpe2OK?si=MFuFNWY0SviPWheUDvr_rw)

[todayclassical]

August 14 in Music History

1675 Birth of composer Johann Georg Christian Storl.

1714 FP of Mouret: "Les Fêtes ou Le Triomphe de Thalie" opera/ballet, Paris.

1727 Death of English composer William Croft in Nether Ettington. 

1738 Birth of composer Leopold Hofmann in Vienna. 

1763 Death of Italian violinist Giovanni Battista Somis.

1755 Death of French violinist Jean Baptiste Anet in Luneville.

1769 Birth of composer Friedrich Ludwig Dulon.

1804 Death of tenor George Mattocks. 

1810 Birth of English organist Samuel Sebastian Wesley, in London. 1814 FP of Rossini's opera Il Turco in Italia at La Scala in Milan.

1823 Birth of composer Karel Miry.

1865 Birth of French composer Paul Dupin in Roubaix.

1868 Birth of Italian composer Leone Sinigaglia. 

1869 Birth of Spanish bass José Mardones, in Fontecchia, Spain. 

1869 Birth of Finnish composer and conductor Edvard Armas Jarnefelt.

1870 Death of French soprano Josephine Fodor-Mainville.

1870 Birth of American composer Lucius Hosmer in South Acton, MA. 

1876 FP of Wagner's Ring Cycle with Die Walkure, at Bayreuth. 

1886 Birth of American soprano Mignon Nevada.

1892 Birth of Belgian soprano Emma Luart, in Brussels. 

1892 Birth of English composer Kaikhosru Shapurji Sorabji.

1893 Birth of composer Alfred Alessandrescu.

1899 Birth of composer Jaroslav Jeremias.

1900 Birth of composer Shalva Mikhailovich Taktakishvili.

1902 Birth of German opera composer Franz Konwitschny. 

1904 Birth of French baritone Martial Singher.

1910 Birth of French composer Pierre Schaffer in Nancy. 

1911 Birth of Dutch conductor and composer Jan Koetsier, in Amsterdam.

1913 Birth of tenor Ferrucio Tagliavini, in Reggio Emilia. 

1923 Birth of American composer William Flanagan in Detroit. 

1924 Birth of French conductor Georges Pretre in Waziers, France.

1934 Birth of tenor Horst Hiestermann, in Ballenstedt.

1934 Birth of Rumanian tenor Ion Buzea, in Cluj. 

1937 Birth of American composer, pianist, and conductor Brian Fennelly.

1938 Death of English composer and conductor Sir Landon Ronald.

1942 FP of Edmund Rubbra's Symphony No.4 in London.

1946 Birth of English composer Bjørn Kruse in London.

1948 Birth of American bass-baritone John Cheek.

1950 Birth of American composer Joseph Pehrson in Detroit, MI.

1951 Birth of American composer Philip Carlsen in Coulee Dam, WA.

1952 FP of Richard Strauss' opera Die Liebe der Danae produced posthumously at the Salzburg Festival.

1953 Birth of American composer James Horner in Los Angeles.

1953 Death of Hungarian baritone Friedrich Schorr. 

1954 FP of Malcolm Arnold's Harmonica Concerto. Larry Adler was soloist at a Proms Concert in London.

1960 Birth of Italian soprano Cecilia Gasdia, in Verona.

1961 Death of English tenor Heddle Nash. 

1961 Death of Italian composer Guido Alberto Fano in Tauriano, Udine, Italy. 

1961 FP of Henry Cowell's Scherzo from Air and Scherzo for saxophone. Sigurd Rascher was soloist at the Camp Kinhaven in Weston, VT. Composer also arranged it for saxophone and chamber orchestra.

1966 Birth of Japanese composer Michio Shirasawa in Tokyo.

1972 Death of American pianist Oscar Levant.

1974 Birth of Canadian composer and pianist Heather Schmidt.

1981 Death of German conductor Karl Böhm, in Salzburg. 

1987 Death of American composer Vincent Persichetti.

1994 Death of baritone Hubert Dilworth.

1996 Death of Rumanian conductor Sergiu Celibidache in Paris.

2004 FP of Lowell Liebermann's Trio No. 2 for Piano, Violin and Cello. 

[elucubrare]

normallyparenthetical replied to your post: here is a trope I love and know I should probably...

The first example that comes to mind is (Konwitschny’s) Tristan. Also, I think that’s what was happening in the Tannhäuser that just streamed from Munich (but I’m not really sure…)

yeah okay it's totally cool if everyone just piles on more reasons for me to weep inconsolably tonight