“He took this Central German theater in Essen and turned it into one of the best ensemble houses in Europe in 17 years, and he turned the Essen Philharmonic into an absolute class A orchestra,” said Australian opera director Barry Kosky. who collaborated with Mr. Soltes on four productions at the Aalto Theater in the early 2000s, said Saturday after hearing about Mr. Death Soltes. mr. Koski spoke from Salzburg, Austria, where he was rehearsing a new production of Janáček’s Kata Kabanova, which he will stage next month at the Salzburg Festival.
During his career, Mr. Soltes has also directed performances throughout Asia, and in 1992 he made his US debut at the National Opera, performing Verdi’s Otello at the Kennedy Center in Washington. mr. Soltesz is survived by his wife Mikaela Selinger, a mezzo-soprano.
“He was a very subtle, sophisticated musician, and the music, you know, came first. He came in second,” he said. Dorney, a Belgian impresario who said he had known Mr Soltesz since the 1990s when he directed the Flanders Festival, said Saturday.
“He was the perfect servant for the arts,” said Mr. Dorney added, using the German word for servant.
Friday night, Mr. Soltes hosted a revival of Mr. Koski’s 2010 production of Strauss’s The Silent Woman has rarely been performed as part of the Bavarian State Opera Summer Festival. mr. Soltes had previously directed other revivals of the production. And it was one of several throughout Germany where he and mr. The cats worked together.
“He was an amazing musician,” said Mr. Kosky, singling out Mr. Soltesch for appreciating Strauss’s interpretation, adding: “He got the idea of an orchestral accompaniment and got the idea of an act architecture – or a three-act opera. He understood this and felt at home in the pits. This was his home.”
“In the dilettante world,” Mr. Kosky said, “He was real.”