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Performer: Opera Vlaanderen

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AntwerpDer Schmied von GentNew production

Schreker: Der Schmied von Gent
Alejo Pérez; Ersan Mondtag; Opera Vlaanderen; Josa Marx; Leigh Melrose; Kai Rüütel

GhentDer Schmied von GentNew production

Schreker: Der Schmied von Gent
Alejo Pérez; Ersan Mondtag; Opera Vlaanderen; Josa Marx; Leigh Melrose; Kai Rüütel

GhentC(h)oeurs 2020New production

Verdi, Wagner
Marc Piollet; Alain Platel; Opera Ballet Vlaanderen; Dorine Demuynck; Reisha Adams; Koor Opera Vlaanderen

AntwerpC(h)oeurs 2020New production

Verdi, Wagner
Marc Piollet; Alain Platel; Opera Ballet Vlaanderen; Dorine Demuynck; Reisha Adams; Koor Opera Vlaanderen

GhentCosì fan tutteNew production

Mozart: Così fan tutte
Marie Jacquot; Anne Teresa De Keersmaeker; Opera Vlaanderen; Jan Versweyveld; An D'Huys; Ida Falk Winland; Stephanie Lauricella
Latest reviewsSee more...

Mob mentality: a powerful La Juive at Opera Vlaanderen

Corinne Winters (Rachel) and Ray Cornelius Smith (Éléazar) © Opera Ballet Vlaanderen
Peter Konwitschny's production strips away much of the religious symbolism, presenting the difference between Jews and Christians as little more than the dyed colour of their hands. 
****1
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Miracle in a wasteland: Das Wunder der Heliane

Das Wunder der Heliane © Annemie Augustijns
At its local Antwerp première, David Bösch’s new production of Erich Wolfgang Korngold’s Das Wunder der Heliane makes it the only house ever to have mounted twice.
*****
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Rewriting Rimsky: a dismal Sadko in Ghent

Zurab Zurabishvili (Sadko) © Annemie Augustijns
Rimsky-Korsakov’s opera is rarely performed outside Russia. Sadly, I doubt that Daniel Kramer’s staging for Opera Vlaanderen will win it many new friends.
**111
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Agrippina meets Dynasty in Antwerp

Agrippina © Annemarie Augustijns
Opera Vlaanderen revives a production of Handel's Agrippina based on American soap operas of the 1980s.
****1
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Inside the mind of the Moor with Thalheimer's Otello in Antwerp

Corinne Winters (Desdemona) and Ian Storey (Otello) © Annemie Augustijns
The unclear ideas and the excessive blackness in Thalheimer’s concept failed to convince, but Stoyanov and Joel’s presentation of Verdi’s score made up for those problems.
**111
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