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Indeed, during the annual Munich Opera Festival, which ran the entire month of July, it was possible to see a dizzying array of works and directorial styles in quick succession. For instance, this week Juergen Rose's austere, historically faithful staging of Verdi's "Don Carlo" with a dream cast headed by Jonas Kaufmann, Anja Harteros and Rene Pape was followed the next night by Martin Kusej's overwrought vision of the same composer's "Macbeth," with one scene in which a crowd of extras simulate urinating on stage. The evening after that brought Calixto Bieito's revelatory production of Mussorgsky's "Boris Godunov," set in a modern police state with bass Alexander Tsymbalyuk as a young, movie star-handsome ruler who unravels before our eyes. Bachler said he was especially pleased that when tickets for this year's festival went on sale, a performance of a recent work commissioned by the company
-- Joerg Widmann's "Babylon" -- sold out almost as quickly as reliable favorites like "Don Carlo" and Verdi's "Il Trovatore." Naturally not every production is going to please everyone, but Bachler said audiences will remain loyal as long as they sense the presence of an intangible quality he likes to call "soul." "There are two deadly sins in our job," Bachler said. "The one is to be dogmatic and the other is to be lazy and just wanting box-office success. This doesn't work in art. You have to believe in something. "The basic thing in a house which the public smells is whether it has a soul and a passion for what we do," he said. One big change coming for the company is the departure of music director Kent Nagano, who is leaving after this season and moving to the Hamburg State Opera in 2015. Nagano was already in his job in Munich when Bachler took over, and the two reportedly had their share of disagreements. Bachler said only that he's very excited about his choice for incoming music director, Kirill Petrenko, adding that at age 40, he's "the right person to go into the future."
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