You are using the Global edition of Bachtrack, which contains listings and reviews across the world. Click here to choose an edition for a different country or world-wide
Select a country
Or choose a country by typing some of its name
Select a region/state
Or choose a region/state by typing some of its name
Select a city
Or choose a city by typing some of its name
Select a venue
Or choose a venue by typing some of its name
Selected dates: All dates
Giasone was the most performed opera of the 17th century, but this was no dry, reverent exhumation. This was something much better from Pinchgut Opera: a joyous, animated resurrection.
At the Komische Oper Berlin, West Side Story has some incredible highlights, but leaves a few too many whys to be wholly enjoyable, with some curious production details.
The Royal Swedish Opera's Salome, directed by operatic first-timer Sofia Jupither, is dramatic, and its strong directorial concept does not get in the way of the story. Nina Stemme sings astoundingly, and gives a nuanced portrayal of the title character.
Ailyn Perez, Stephen Costello and Simon Keenlyside star in Verdi's La Traviata at the Deutsche Oper Berlin.
Starring celebrated heldentenor Klaus Florian Vogt, Kasper Holten's highly-praised production of Korngold's Die tote Stadt for Finnish National Opera is brilliantly revived.
Daniel Harding and the London Symphony Orchestra again paired Schubert with a late Romantic, this time Richard Wagner, and the second act of Tristan und Isolde. The orchestra were on a form it would be hard to match.
Nathaniel Merrill’s production of Der Rosenkavalier opened at the Metropolitan Opera on 23 January 1969. Richard Nixon had been sworn in as President as the United States only a few days earlier. It is still in the repertory today, here revived with Edward Gardner conducting.
The buzz in the Concertgebouw was palpable for many minutes before the entrance of Cecilia Bartoli. It was one of those occasions when even an audience member who knew nothing of the artists could hardly have failed to anticipate something special. She did not disappoint.
This is ENO’s third outing for this production of the Philip Glass classic since its debut in 2007 – and no wonder, when it combines an adventurous artistic vision with surefire commercial success in a way that director’s opera so often doesn’t.
Dancing teddy bears, a larger-than-life Sarastro, live birds and numerous airborn characters all make the brand new production of Mozart’s beloved Singspiel at the Staatsoper a very family-friendly event.
The new Traviata at the Lyric Opera is both hyper-traditional and, in moments, saucily modern. In broad strokes, it looks like many another Traviata that has come before, though a twinge of visual ambition goes past such clichés.
Over the years, I’ve generally found performances at Royal Academy Opera to be enjoyable and straightforward. This production of Cendrillon went rather beyond that.
What is perhaps even more remarkable than the unabashed grandeur of the new Parsifal at the Lyric Opera of Chicago is the degree to which its spectacle draws on the images and genres of 20th-century media technologies including popular music.
As the year of Wagner’s bicentennial approaches its end, De Nederlandse Opera concludes its latest revival of Pierre Audi’s Ring cycle with his 1998 production of Götterdämmerung.
Christof Loy’s new production of Falstaff for the Deutsche Oper Berlin is a conundrum. While the opera itself tells a story of comeuppance, Loy’s production seemed to be about the positive physical effects of playing pranks on your neighbors.
Since 2013 marks a Verdi anniversary, the Viennese have been treated to two new productions of Il trovatore: Philipp Stölzl’s pacey, offbeat deconstruction that will open in Berlin next week, and this Volksoper co-production with the Theater Bonn where the curtain goes down after every scene.
“Music of doubt, music of questions, music of search”. This is how Peter Sellars, the stage director for this production of The Indian Queen, sees the music of Purcell in general and this piece in particular. Sellars has reportedly wanted to present his take on this semi-opera for decades. Finally, the Teatro Real, Perm Opera and English National Opera have joined forces to make it a reality.
The final production of the San Francisco Opera’s fall season was a new staging of Rossini’s Il Barbiere di Siviglia, advertised everywhere as The Barber of Seville.
What is it about Mozart’s Così fan tutte that inspires the zaniest interpretations? While the music is lovely, replete with all those lush trios, quartets, and quintets that operagoers live for, the storyline is silly if not downright insipid.
Last night’s performance of The Mikado was a historical moment for the Rathmines and Rathgar Musical Society (affectionately known as the “R&R”) as it celebrates its centenary this year. Its very first performance in the Queen’s Theatre, Dublin in 1913 was also Gilbert and Sullivan’s much-loved Mikado, representing a satisfying continuity with last night’s performance.
I thought it ironic to hear people saying that the Met’s recent production of Two Boys was already outdated because of its ten-year-old subject: Internet chatrooms.
What do you go to the opera for? The question has a thousand answers, but if you’re going to Mozart’s Marriage of Figaro, the chances are that you’re expecting some frothy romantic comedy, some elegant music and a bunch of tunes that will stay in your head when the show is over.
In the bicentenary anniversary of Giuseppe Verdi, tributes are aplenty. On Saturday evening, Los Angeles Opera presented a new production of the Italian master’s final work, Falstaff, though that wasn’t all.
This November, the Opéra de Montréal celebrates Verdi’s bicentennial with a laugh, presenting his comic opera Falstaff. The revival of David Gately’s production, originally produced by Glimmerglass Opera and the recently deceased New York City Opera, received no shortage of snickers during Saturday’s première performance with Opéra de Montréal.
32-year-old Nico Muhly recently tweeted “I'm obsessed with people asking why I must write such ‘atonal music.
With a cast of over 20 parts, here sung by 18 soloists, the Royal Conservatoire of Scotland made a bold choice by staging Monteverdi’s Il ritorno d’Ulisse in patria to showcase the current students at the Opera School. Continuing the “Opera Up Close and Personal” series, this was performed in the tiny opera studio to an audience of around 100, creating an intimate evening of early music.
There are times a tarnhelm would come in useful. Limited to more conventional means of transport, this reviewer found that it took a ridiculous hour and a half to drive from Soho to Fulham, as a result of which I’m afraid I missed the opening scene of Fulham Opera’s Götterdämmerung.
Before the beginning of this new version of Mozart’s The Magic Flute from Simon McBurney, Complicite and English National Opera, one may wonder, looking at the stage, why it was recently hailed as the company’s most technically advanced creation to date: an austere, no-frills set consisting of a single suspended rectangular slab and a raised orchestra pit both reflect this production’s refre
The unnecessary celebrations of Richard Strauss’ 150th birthday seem to have begun early at the Metropolitan Opera. Two weeks after this Die Frau ohne Schatten comes Der Rosenkavalier, and a few months after that Arabella. By the standards of Strauss at the Met, Herbert Wernicke’s Frau is still new at only a dozen years old.
Opera Lyrica is a new addition to the thriving small opera company scene in the UK. Founded in 2012 by artistic director Paola Cuffolo and producer Nick Simpson, it gives aspiring professionals valuable opportunities.
A double bill of rare operas: it’s like Christmas has come early in London. The Guildhall School are pairing Debussy’s The Prodigal Son with Donizetti’s sparkling court comedy Francesca di Foix.
When Japanese Manga cartoons meet Latvian opera singers in a Danish theatre company’s cauldron, one imagines that the sum total of it all could easily translate into a massive train wreck. And yet, this doesn't.
Peter Konwitschny’s Tannhäuser at Dresden’s Semperoper dates back to 1997, making it relatively old for an opera production, and though I sense this may be its last revival, it is still modern and engaging.
OperaUpClose have set their version of Verdi’s classic in the 1920s, with some beautiful period costumes and a few prettily observed production details It’s a big story on a very small scale.
Director Keith Warner's Royal Opera production of Berg's Wozzeck makes a truly cathartic experience that fully deserved the long ovation it received, with strong performances from Simoin Keenlyside and Karita Mattila.
Verdi’s Don Carlo – the four-act Italian version – at the Deutsche Oper combines strong singing and acting with lush music in an evening that, despite its beauty, is not without its faults.
A year of theatre refurbishment leaves Scottish Opera with only three and half full productions this season, so the spotlight turned firmly onto this Don Giovanni from director Sir Thomas Allen, designer Simon Higlett and lighting designer Mark Jonathan.
While major opera houses mount a dazzling variety of new Verdi, Wagner and Britten productions, a smaller local company, Surrey Opera, has taken it upon themselves to remember George Lloyd by producing his “neglected” first opera, Iernin.
Music Theatre Wales’ production of Salvatore Sciarrino’s The Killing Flower begins in darkness. Michael McCarthy’s highly stylized production fits with the music, which is a fitting interpretation of extreme emotions: love that knows no control and no reason.
What happens when the director develops in directions the company neither wanted or expected? For San Francisco Opera’s new Der Fliegende Holländer, this discovery led to decisive action: director Petrika Ionesco was sacked just before the opening.
Greek packs a punch. Especially in Music Theatre Wales’ simple production, here at the Royal Opera House Linbury Studio Theatre. Mark-Antony Turnage’s music brings Steven Berkoff’s play to life.
The inability of human beings to communicate or even empathise, and the monstrous consequences that gap in misunderstanding leads to, is the foundational idea of Die Eroberung von Mexico, and Wolfgang Rihm’s dense and frequently brilliant music.
Lynn Binstock is to be warmly congratulated on creating an original, special, fascinating opportunity for the opera audience to get to know opera singers in this St James Theatre show.
Small London company Midsummer Opera's production of Verdi's huge Otello was extremely ambitious, with a full orchestra filling St Johns Church, Waterloo. Tenor John Upperton took on a lot, acting as chorusmaster as well as singing Otello, and he took the evening's vocal honours.
Opera North's Death in Venice is another winner for the company in Britten's centenary year, originally directed by Yoshi Oida. Alan Oke is a successful, anguished Aschenbach.
Scottish Opera made a wise choice in selecting Handel’s concise court drama to tour widely across Scotland this autumn. This is the ideal showcase for its Emerging Artist singers and also the new faces in the production team.
Under the artistic and musical direction of Olivier Py and Philippe Jordan, Verdi’s opera has ignited a veritable storm of both fervent criticism and ardent defence.
Chicago Lyric Opera's production of Madama Butterfly is open and airy, quiet in its theatrics, and the characters move with the grace and inevitability of shadows on the wall.
Giornata Opera picked Puccini’s often-neglected personal favourite of his Trittico, Suor Angelica, to perform at St Paul’s Church, Covent Garden. The second half is well worth the wait.
To describe this revival of Puccini's much-loved Madam Butterfly as a visual spectacle would be to do it a disservice. Originally directed by Anthony Minghella in its first outing in 2005, it is one of ENO's greatest success stories.