March 24, 2017
In einem Kaffeehaus unweit der New Yorker Metropolitan Opera sitzt uns Kristīne Opolais gegenüber. Zu Beginn des Gesprächs wirkt sie erschöpft von der Vorstellung der „Madama Butterfly” am Abend zuvor, die sie ausnahmsweise in nicht perfekter stimmlicher Verfassung singen musste. Doch die letttische Sopranistin und Ehefrau von Dirigent Andris Nelsons blüht im Interview schnell wieder auf, blickt mit ihren großen schönen Augen neugierig und Anteil nehmend auf das Leben, schaut kritisch auf den Opernbetrieb und hat dennoch Hoffnung, dass der Gesang mit seiner Verbindung zur Seele die Menschen reich beschenken kann, dann jedenfalls, wenn Künstler als beherzte Überzeugungstäter am Werk sind, so wie die von ihr verehrte Maria Callas.
March 19, 2017
This spring, Kristine Opolais stars in the title role of Puccini’s Tosca, in a series of performances in Baden-Baden and Berlin. Ms. Opolais takes the stage in a new production at the Festspielhaus Baden-Baden on April 7, 10, 13 & 17 (please note April 7 is a Gala performance), with Sir Simon Rattle on the podium leading the Berlin Philharmonic. Philipp Himmelmann directs the production, with set designs from Raimund Bauer; Marcelo Álvarez is Cavaradossi and Evgeny Nikitin sings Baron Scarpia for all performances. These not-to-be-missed events are featured as part of the Easter Festival at the venue.
February 24, 2017
Latvian soprano Kristine Opolais shot to international fame in 2010 with a controversial production of Antonin Dvořák’s Rusalka at Munich’s Bavarian State Opera. She has recently performed the role in Mary Zimmerman’s much anticipated new production at The Met, a house where she made history in 2014, making two Met role debuts within 18 hours. After performing in Madama Butterfly, she then stepped in for a matinee of La bohème the next day. She is especially acclaimed for her Puccini roles, her Manon Lescaut with at Covent Garden reaching a huge audience via cinema relay and DVD release.
February 21, 2017
Antonin Dvorak fell in love with the story of Rusalka as soon as he laid eyes on the libretto, and it was an immediate success when it premiered at the National Theater in Prague in 1901. Based primarily on two fairy tales (Hans Christian Andersen’s “The Little Mermaid” and Friedrich de la Motte Fouque’s “Undine”), it tells the story of a water nymph who falls in love with a prince and trades her voice to become human. Contrary to the Disney version, the story ends tragically for Rusalka. She is betrayed by the man she loves, and she is doomed to spend the rest of her life trapped between the immortal world of the water nymphs and the mortal human world.
February 7, 2017
After a pause of nearly 25 years, Antonín Dvořák’s most famous opera Rusalka is back on the stage of the Metropolitan Opera in New York. The highly anticipated production of the “lyric fairy tale” about a water nymph, who wishes to become a human in order to be loved by a young prince, is only the second in the history of the Metropolitan Opera.
The new staging of Antonín Dvořák’s Rusalka has been described by the New York media as an opera-lovers must-see event. The young Latvian singer Kristine Opolais stars in the role of Rusalka, a water nymph, who gives up all that is dear to her for the love of a handsome prince. She is only the third Rusalka to have appeared on stage of the Metropolitan Opera – two lead singers Gabriela Beňačková and Renée Fleming, starred in the previous production.
February 3, 2017
“The mysterious look of the production, fantastical and ominous, combines with the sensual singing of a handsome cast to create a romantic energy rare at the Met — or at any opera house … the Met has assembled a matchless cast, led by the lovely soprano Kristine Opolais, who gives a vocally lustrous and achingly vulnerable performance as Rusalka, the water nymph who falls in love with a human prince. Even in the unusual love scenes between the prince and the silent Rusalka, who has given up her voice to become mortal, Ms. Zimmerman has coaxed simmering tension from Ms. Opolais and the dashing tenor Brandon Jovanovich … with her fidgety physical gestures and darting eyes, Ms. Opolais conveys the character’s restlessness and pining. This powerful singing actress adds unusual intensity to her plaintive “Song to the Moon,” Rusalka’s famed lament, suggesting the character’s defiant side more than most sopranos … finally, the two have a real love duet, impassioned, fitful music, sung here with burnished sound and wrenching beauty by Ms. Opolais and Mr. Jovanovich.”
Anthony Tommasini – The New York Times