Both Florez and Diana Damrau brought their bel canto expertise and superb vocalism to the service of Verdi's music. The Rigoletto, Zeljko Lucic, ran the gamut from tenderness with his Gilda to thundering fury with everyone else. I also liked the production. At first, when Rigoletto was putting on his grease paint during the overture, I was afraid that it might be a typical "Euro-trash" production, with a bit of warmed over I Pagliacci. But the sets and dramatic action really served the music and libretto. I would have to say that I came to a deeper understanding and appreciation of the story and characters as a result of seeing this performance.

Rarely has a theatrical world premiere been so warmly received as Dutch National Opera’s production of Arnold Schönberg’s late-Romantic Gurre-Lieder in 2014. The production fulfilled a fervent wish of principal conductor Marc Albrecht. The music of Gurre-Lieder is timeless, and so is its subject: a passionate, yet forbidden love. The story harks back to a Scandinavian saga, situated in Gurre. King Waldemar loves the girl Tove, who is a mysterious character, connected to both the world of people and the world of birds. The queen is jealous and has Tove killed. The Wood Dove tells of this in a moving song and the king accuses God of cruelty. A nightmarish scene follows, of a fierce army killed in battle, which rampages like a horde of ghosts. The radiant dawn at the end of Gurre-Lieder shows the insignificance of human destiny compared to the power of nature.