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Brüggemann, Axel
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W przeglądzie prasy europejskiej euro|topics cytowano dotąd 2 artykuły/artykułów tego autora.
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Frankfurter Allgemeine Sonntagszeitung - Niemcy | 12/08/2007
Endrik Wottrich on doping in the world of opera
The singers Anna Netrebko, Rolando Villazón, Neil Shicoff and Elina Garanca have all cancelled their appearances at the Salzburg Festival. Renowned tenor Endrik Wottrich, who fell ill at the Bayreuth Festival and was replaced by somebody else, lashes out at the world of opera in an interview with Axel Brüggemann: "One is expected to perform beyond the humanly possible... It's not normal to regard the voice no longer as a sensitive human organ, but as a machine. We are forced to choose between performing and then being torn to pieces for hitting the wrong note or calling in sick only to come under attack because we're taking it easy on ourselves... Doping has long been commonplace in the music world. Soloists take beta blockers to soothe their nerves, some tenors take cortisone to give their voices a higher pitch, and alcohol is everywhere. Fear has become such a major factor that almost any means seems justified in order to live up to expectations. For most singers, this is the beginning of the end."
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Wszystkie dostępne teksty » Endrik Wottrich
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Frankfurter Rundschau - Niemcy | 20/12/2006
"Idomeneo" - artistically bankrupt?
For Axel Brüggemann, the most scandalous thing about the reopening of the Mozart opera "Idomeneo" at Berlin's Deutsche Oper was the ensemble's poor performance. "The scandalous thing about it was that the cast was simply terrible: the singers ranged from mediocre to absolutely lousy. The scandalous thing about it was that composer Ralf Weikert's rendering of the opera could hardly have been more anachronistic or bone dry... This would have been a great opportunity for the opera's much criticised director Kirsten Harms to present her opera house as a pioneer in German opera and silence all the critics, but she hasn't even managed to capitalise on this rare moment of public interest in the opera by presenting a decent musical and theatrical performance." The commentator concludes that the performance was tantamount to a declaration of artistic bankruptcy."
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