no parece gustar gran cosa la Zauberflöte que ha puesto en escena el señor Krystian Lupa. No tengo el palcer de conocer su obra pero había leído que se esperaba con ansia su trabajo..parece que al fin la cosa no le ha ido del gusto de algunos

Extractos de http://www.bloomberg.com/apps/news?pid=20601088&sid=aDNoxbCV9jrM&refer=culture

Drag is in at the Aix-en-Provence Festival. The shock of Loge's evening gown in Wagner's ``Das Rheingold'' on Sunday evening was trumped by Mozart's ``Magic Flute'' on Monday. This time, the transvestites are under age.

Polish director Krystian Lupa has the 1791 opera's three boy ``spirits'' in spangled mini-dresses and blonde wigs. A sound like wind swelling at sea rumbles through the stalls. Lupa's incoherent production is full of prerecorded sound effects, yet this is different.

It's the sound of an audience preparing to bay for the director's blood. He has sensed it in advance, and refuses to take a curtain call. The boos are hurled at conductor Daniel Harding, who responds with a lip-curling sneer. It is a graceless end to a tedious evening.

Lupa is acclaimed as one of Poland's best theater directors. This was his first opera, and with luck also his last. The production comes from Vienna's Theater an der Wien, where it was a howling flop, and goes on to Luxembourg. It is one of the Mozart year's more monstrous miscalculations.

Like so many first-time opera directors, Lupa strives for innovation and unwittingly serves up every cliche in the book. Hackneyed gestures are the least of his problems. Far worse are the pretentious video clips, the ludicrous costumes, the gratuitous nudity and the absence of any logical links between the disjointed images.

ufa..vamos fuertes....
Prince Tamino wears jeans and a tight black T-shirt, while Papageno still carries a bird cage and sports a beak and feathers. The Queen of the Night is dressed like Carmen, Sarastro and his priests wear old-fashioned robes and the chorus sports late 20th-century street clothes.

The worst of Piotr Skiba's costumes is reserved for the ``Moor'' Monostatos, a golliwog parody complete with frizzy hair and padded codpiece. Lupa does not even grace his stereotypes with irony, and nobody laughs at his jokes.

Zbigniew Bzymek's video projections (swimming fish, a train journey, an opera house viewed from the stage) only add to the general confusion.

y ahora un poco sobre música y canto
Musically, it is also a patchy evening. Harding starts well, with an overture so light and piercingly sweet that time stands still. As the evening wears on, though, the pace flags and the lapses in ensemble multiply. The musicians of the excellent Mahler Chamber Orchestra do not play their best.

The young cast ranges from good (Pavol Breslik's charismatic, effortless Tamino; Helena Juntunen's likeably intense Pamina; Adrian Erod's rakish Papageno) through adequate (L'ubica Vargicova's brittle Queen of the Night) to weak (Gunther Groissbock's nervous Sarastro).

y bueno..me puse a buscar alguna crítica sobre el Ring..

http://www.nytimes.com/2006/07/05/arts/05aix.html

Founded in 1948 as an essentially Mozartian festival, the Aix festival is for the first time presenting Wagner. And, as they say, not any old Wagner: Sir Simon Rattle is conducting the Berlin Philharmonic in his first stage version of Wagner's four-opera masterpiece, "Der Ring des Nibelungen.

"What began Sunday with "Das Rheingold," the so-called "preliminary evening" to the Ring, is actually a five-year adventure. In 2007 the festival will offer "Die Walküre"; in 2008 "Siegfried"; and in 2009 the entire cycle, including the final work, "Götterdämmerung."


As it happens, in 2004 Sir Simon conducted a concert version of "Das Rheingold" with the Orchestra of the Age of Enlightenment. But on Sunday it was also the Berlin Philharmonic's first appearance here that stirred anticipation. And from the opening bars of "Das Rheingold," it was apparent that the acoustics in the former Archbishop's Palace would not let the orchestra down. (From 2007, the rest of the cycle will be presented in the new theater.)

Sir Simon chose an unusually slow pace — the performance lasted 15 minutes longer than usual — as if eager to dwell on the score's rich brass interludes and tellingly repetitive motifs. In this he was supported by a well-balanced cast of singers, including Sir Willard White as Wotan, Dale Duesing as Alberich, Evgeny Nikitin as Fasolt, Robert Gambill as Loge, Lilli Paasikivi as Fricka and Anna Larsson as Erda.

Mr. Braunschweig's staging, however, was more controversial. The days when directors followed the Romantic staging first conceived by Wagner himself in 1876 have long since passed, yet new interpretations of the medieval epic rarely please all Wagner fans. And this was no exception.

In the opera program Mr. Braunschweig said he set out "to bring the work closer to us so that it resonates within our contemplative and psychological worlds." He added, "The staging has to confront a virtual, mental world and naked reality," noting further that the announced collapse of the world of the gods means the inevitable intrusion of human reality.

Mr. Braunschweig has dressed the cast in modern clothes, with Wotan resembling a chief executive; his wife, Fricka, a stern personal assistant; and the giants Fasolt and Fafner in the dark suits of debt collectors. Alberich reappears as a uniformed general after he has stolen the gold from the Rhinemaidens, while only Loge's sparkling lamé gown suggests some of the otherworldliness of the story.

Décor is minimal, with videos and lighting variously used to evoke the Rhine, the underworld, fire, clouds and rainbows. And in that sense, what Mr. Braunschweig called "a virtual, mental world" seems to dominate "naked reality." "Das Rheingold," after all, is not without action, but here the richness of this mythical epic is hardly mirrored onstage.

That said, the production was applauded by French music critics, with Marie-Aude Roux in Le Monde praising both conductor and director for "their concern for jubilant clarity and tragic legibility." Writing in Le Figaro, Jean-Louis Validire waxed poetic about the Berlin Philharmonic, while Libération's Eric Dahan said Mr. Braunschweig interpreted the libretto "with impressive integrity."

But these views were not shared by Andrew Clark of The Financial Times, who wrote of Sir Simon's conducting that "I have never heard Wagner sound so slow and self-regarding" and who dismissed the staging as "little more than a 'mise en espace,' with singers standing and singing in a cell-like chamber."