Every detail of Massenet’s chef d’œuvre—a sort of Eugene Onegin “à la française”—is perfectly in place in Tatjana Gürbaca’s 2018 Werther: its naiveté (Act 1’s scenes of childhood), humor (Charlotte’s making fun of the elderly ladies she visits in Act 2), romanticism (settings of moonlight and stormy nights), and intense melancholy (Charlotte’s profound despair at Werther’s tomb).
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