Sarah Batschlelet, long based in Switzerland, took a degree in Art History from Smith College, Northampton, Massachuetts, and lives as a freelance writer and editor near Zurich.
In a magical and widely-varied programme, the Zurich Ballet pays homage to the celebrated Czech choreographer Jiří Kylián by performing four of his extraordinary works together for the first time.
While Bellini’s two-act opera Norma underscores the religious wars between the ancient Druids and Romans, it also highlights an emotive personal conflict that is veiled in deceit and cultural discrepancy.
Widely thought a pinnacle of 20th century dance, John Neumeier’s “Die Kameliendame” ballet recently celebrated its 100th performance at the Bayerisches Staatsoper in Munich.
In Georges Bizet’s Les pêcheurs de perles, two men’s vow of eternal friendship is threatened by their love for the same woman. Only one man lives to tell the tale.
The last weekend concerts before the holidays at the Tonhalle Maag featured soloist Janine Jansen, the virtuoso Dutch violinist who is Artist-in-Residence here this year.
In Zurich, ballet director Christian Spuck recently launched the second season of the multi-layered ballet he choreographed to the great P.I. Tchaikovsky score.
Slolem Aleichem's classic of Yiddish literature is familiar through the musical “Fiddler on the Roof”. Choreographer Richard Wherlock’s adaptation retells the story in vibrant, contemporary dance.
By using Schumann’s Novelletten to draw a broad dramaturgical bow over the whole evening, Martin Helmchen stands on his own as a bold and highly creative pianist.
For his new production of Donizetti’s Lucia di Lammermoor in Basel, director Olivier Py underscored an emotive kaleidoscope of events with unparalleled creativity and imagination.
While the Tonhalle’s concert season officially began about a month ago, Paavo Järvi launched his own appointment here with demanding repertoire that met with great enthusiasm.
Debussy’s Pelléas et Mélisande emerges from an almost transcendent realm and creates a languorous atmosphere, even if it leaves some questions unanswered and realities unexplored.
Barrie Kosky’s production of Franz Schreker’s Die Gezeichneten (The Branded) is in keeping with what was long considered one of the early 20th century’s most scandalous works.
