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Performer: Graham Vick

Upcoming eventsSee more...

BerlinTristan und Isolde

Tristan und Isolde
Wagner: Tristan und Isolde
Donald Runnicles; Graham Vick; Deutsche Oper Berlin; Paul Brown; Ricarda Merbeth; Peter Seiffert

ValenciaDie Zauberflöte (The Magic Flute)

Mozart: Die Zauberflöte (The Magic Flute)
Lothar Koenigs; Graham Vick; Dmitry Korchak; Mariangela Sicilia; Tetiana Zhuravel; Mark Stone

MilanDie tote StadtNew Production

Korngold: Die tote Stadt (The Dead City)
Alan Gilbert; Graham Vick; Teatro alla Scala; Stuart Nunn; Klaus Florian Vogt; Asmik Grigorian

RomeLe nozze di Figaro

Mozart: Le nozze di Figaro (The Marriage of Figaro)
Stefano Montanari; Graham Vick; Teatro dell'Opera di Roma; Samal Blak; Andrei Zhilikhovsky; Alessandro Luongo

RomeDon GiovanniNew production

Mozart: Don Giovanni
Jérémie Rhorer; Graham Vick; Teatro dell'Opera di Roma; Samal Blak; Alessio Arduini; Vito Priante
Latest reviewsSee more...

Vick's new Magic Flute opens the Macerata festival

Guido Loconsolo (Papageno) and Valentina Mastrangelo (Pamina) © Alfredo Tabocchini
The Magic Flute's roots in popular theatre come through most strongly throughout Vick's production, which sparkles with a wealth of witty detail. But treatment of the work's socio-political undercurrents doesn't work nearly as well.
***11
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Vick and Mariotti refresh Bohème in Bologna

Alessandra Marianelli (Mimì) and Matteo Lippi (Rodolfo) © Rocco Casaluci
Vick enjoys working with young singers, and in with the young second cast he is spoiled.
*****
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Nothing short of a coup: Stiffelio at the Verdi Festival, Parma

Luciano Ganci (Stiffelio) © Roberto Ricci
Without recourse to virtual reality or hallucinogens, Vick has created a suggestive, vividly surreal world where one's reference points are lost to the wind.
*****
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Spyres and Crowe take the vocal honours at Covent Garden's Mitridate

Michael Spyres (Mitridate) © ROH | Bill Cooper
A strange evening: superb Mozart playing from Rousset, plenty of fine singing, staging and costumes that one certainly isn’t going to forget. But what’s the point of it all?

Vick finds modern relevance in Cavalli's Hipermestra

Emőke Baráth (Hipermestra) © Tristram Kenton
The advantage of staging a rare opera such as Cavalli's Hipermestra at Glyndebourne this year is that the director can work with a blank canvas without audience’s preconceptions.
****1
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