This monthly State of Luxury & Lifestyle Catalog is a reflection of Luxury Portfolio Magazine’s high-end publication and Forbes Global Properties’ Storied articles that immerses readers in the world of luxury and lifestyle, with a particular focus on Real Estate, Design, Travel, & Lifestyle.
The drama of the opera continues to call audiences into historic theaters across Europe
While the ubiquitous beef patty might (in a roundabout way) actually hail from here, it’s not why you’d want to visit this city on the River Elbe. Rather, it’s Hamburg’s striking elegance.
Sounds of the Opera The booming echo of the bass, a baritone’s big aria, tenors in perfect harmony, a lofty soprano trill – the sounds of the opera have captivated audiences for centuries; many will tell you the art form is something you just feel. Add to that a background of orchestral excellence, dramatic plotlines, fantastical sets on sweeping stages, opulent costumes and some of the most lavish theaters ever built, and the opera simply awes. “At its best, it is moving, transcendent, life-affirming,” says David Merritt, founder and president of Canada-based Aria Tours, which organizes opera-centric trips. “What could be better than sitting in the Met or La Scala in Milan or Teatro di San Carlo in Naples and hearing the best musicians and singers in the world perform some of the most sublime music ever created? It’s a gift to be able to experience it.”
An opera is drama through music – a play where the entire story is told through song. The word is actually the plural of opus, latin for the “work” of a composer, so an opera can be thought of as many of these works strung together. It has its roots in late-16th-century Florence, Italy, where a group known as the Florentine Camerata tried their hand at recreating Greek dramas told through music. Jacopo Peri is credited with writing the first, Dafne, in 1597. All of Europe was feeling opera almost immediately – but they were still written only in Italian for nearly 200 years, later expanding to German, French and other languages. To put on such dramas, ornate sets were built and even more ornate opera houses constructed for the enormous stages required to hold them – and their audiences. Opera composers became stars, their works still performed today and known by singular names to even those who don’t know opera. In the Baroque era, 1600-1750, it was George Frideric Handel (Aggripina, Rinaldo).
In the classical period, 1750-1830, it was the one and only Wolfgang Amadeus Mozart (The Marriage of Figaro, The Magic Flute). The Romantic period, 1830-1900, saw opera becoming grander than ever, thanks to Gioachino Rossini (The Barber of Seville, Cinderella), Richard Wagner (Der Ring des Nibelungen, Ride of the Valkyries), Giuseppe Verdi (La Traviata, Aida) and Georges Bizet (Carmen). In the 20th century, there was Giacomo Puccini (Madama Butterfly, La Bohème).
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Ask Julia von Jenisch, chair of the trustees of Hamburg’s most important contemporary art venue, to name her favorite museum in the city, and her choice falls on the eponymous Jenisch-Haus. Surrounded by the meticulously kept Jenisch Park above the mighty Elbe, it was built almost 200 years ago by an ancestor of her husband. But she has a point. The “house” really is worth seeing. Reopened after the war as a museum of Hanseatic living culture, it epitomizes the wealthy Hamburgers of the day: distinguished and elegant, with cultivated restraint. This is still very much the style of the city’s upper echelon today.
In the park, landscaped in the style of English gardens from around 1800, Julia von Jenisch might well run intoPhilipp Westermeyer, who lives nearby. A media entrepreneur whose annual Festival of the Digital Universe brings people like Kim Kardashian, Quentin Tarantino and Jeff Koons to Hamburg, he came here 20 years ago and has never thought about leaving since. Why would he? He remembers a balmy evening last summer when he walked with a friend from New York along the Elbe teeming with container ships, ferries and sailing boats. They passed the Elbphilharmonie, the landmark building by the Pritzker Architecture Prize-winning bureau of Herzog & de Meuron, gleaming in the setting sun, and the Landungsbrücken, the former landing site of Europe’s third biggest port. Finally, they reached the Strandperle, a traditional bar on an artificial beach. Sometimes the city seems almost Mediterranean. This close to the North Sea though, Mediterranean is probably a stretch. “The weather is absolutely a problem,” opines Julia von Jenisch. But that doesn’t stop Philipp Westermeyer bicycling from A to B whenever possible. He marvels at the city’s compactness – “When I want to see a major soccer game at the weekend, I take my bike to the stadium. Try that in New York.”
After 30 years in the city, Julia von Jenisch summarizes the appeal. “Hamburgers are convinced their city is the most beautiful in the world.” And of all the people Philipp Westermeyer knows who have moved to Hamburg, himself included, hardly anyone has left. “But still,” Michael Becken argues, “Hamburg should grow.” His vision? “Copenhagen has a great spirit.” Perhaps that’s not surprising. Unlike any other major German city, there’s a Scandinavian feel to Hamburg, attributable to a shared past as part of the mediaeval Hanseatic League of trading cities. Ultimately, trade and water and the wealth that spills from it still define the city, with the River Elbe, the Alster Lakes and the winding canals linking today’s occupational districts and striking up a meaningful conversation with their past.
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