Robert Dean Smith

Robert Dean Smith

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Most Known for...

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Tristan und Isolde 2009 (8)

Since the 1990s, Christoph Marthaler and his congenial stage and costume designer Anna Viebrock have caused a sensation with highly musical and atmospheric productions of plays and operas. It was only a matter of time, then, before this directing team was also invited to the Bayreuth Festival. Marthaler's style of radical deceleration proved ideally suited to Wagner's Tristan und Isolde in this production – with Viebrock's sober yet poetic sets – unveiled in 2005. In the 2009 revival documented here, Robert Dean Smith and Iréne Theorin were joined in the title roles by Robert Holl, one of the great basses of his generation, who sang the role of King Marke.
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Ariadne Auf Naxos 2012

Christian Thielemann conducts this Staatskapelle Dresden production of Richard Strauss' chamber opera. The opera follows events at the home of the wealthiest man in Vienna, who has booked both a comedy burlesque act and a serious opera group for entertainment. When the dinner runs long he declares that both forms of entertainment must take place at the same time - much to the chagrin of the opera's proud young composer. Filmed live in Baden-Baden on Feb. 25 by the veteran director Brian Large, Renée Fleming makes her debut in the role of Ariadne together with fellow key Strauss interpreters Sophie Koch and Christian Thielemann, following on from their Rosenkavalier triumph. Thielemann conducts the Staatskapelle Dresden, the orchestra to whom Strauss dedicated his Alpine Symphony and which premiered Feuersnot, Salome, Elektra, Der Rosenkavalier and Daphne.
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Richard Strauss - Ariadne Auf Naxos 2012

Flemings voice might have been made for Ariadne and she achieved a great personal triumph in this production: The chief glory of the evening was hearing Renee Fleming, the Straussian soprano par excellence, making her role debut as Ariadne… As the possessor of what is, possibly, the most beautiful soprano voice in the world, she put her vocal treasures in the service of an empathic, nuanced interpretation of the role. From the creamy top, through a rich, warm middle, to the bewitching, darker colours of her lower register, Fleming poured her magnificent sound into Strausss enchanting melodic arcs, animating the sadness, vulnerability, and desire of the bereft princess...