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George Jahn

George Jahn

George Jahn is the former Vienna bureau chief of The Associated Press. During his 35-year career at the global news organization, he covered wars, politics... and opera, reviewing productions at the Vienna State Opera, the Salzburg Festival, Bayreuth Festival and other houses in Austria and Germany. He has also written for Opera Now and International Piano magazines in London. Those he has interviewed include Matthias Goerne, Vesselina Kasarova, Thomas Hampson and Mariss Jansons. George holds or shares awards for his reporting on U.N. affairs and for his coverage of the Bosnian war. A Canadian/Hungarian citizen, he splits his time between residences in Vienna and Budapest.

Autor:George Jahn

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Malin Byström (Salome) und Pablo Delgado (Henker) © Wiener Staatsoper | Ashley Taylor

Eine neue Salome an der Wiener Staatsoper: orchestrale Exzellenz, vokale Virtuosität

Von George Jahn, 04 Februar 2023

Die Salome nach Cyril Teste ist schon im Original ein Psychodrama und führt uns tiefer in das, was die Protagonistin – oder ist sie eine tragische Heldin? – zu dem macht, was sie ist.

****1

Malin Byström (Salome) und Pablo Delgado (Henker) © Wiener Staatsoper | Ashley Taylor

Wiens neue Salome: orchestrale Exzellenz, vokale Virtuosität

Von George Jahn

Aušrinė Stundytė (Judith) © Salzburger Festspiele | Monika Rittershaus

Bartóks Blaubart als Psychothriller in Castelluccis unstimmigem Salzburger Doppelabend

Von George Jahn, 02 August 2022

Romeo Castelluccis intensive Inszenierung von Bartóks Oper kommt in der Aufführung unter Teodor Currentzis voll zur Geltung, während sich Carl Orffs Oratorienoper De temporum fine comoedia wie ein langweiliges Füllstück anfühlt.

***11

Aušrinė Stundytė (Judith) © Salzburger Festspiele | Monika Rittershaus

Blaubart als Psychothriller in Castelluccis unstimmigem Doppelabend

Von George Jahn

Zita Szemere (Gilda) and Attila Mókus (Rigoletto) © Valter Berecz | Hungarian State Opera

Fine voices, staid production: Rigoletto revived at Hungarian State Opera

Von George Jahn, 12 Juli 2024

Attila Mókus's dramatic baritone was scornful at one moment, tender, distressed, vengeful, or broken in mourning at others, vocal signposts in Rigoletto’s descent into the hell of his own making.

***11

Zita Szemere (Gilda) and Attila Mókus (Rigoletto) © Valter Berecz | Hungarian State Opera

Fine voices, staid production: Rigoletto at Hungarian State Opera

Von George Jahn

Andrea Brassói-Jőrös (Rusalka) and Zoltán Nyári (Prince) © Attila Nagy | Hungarian State Opera

New Rusalka staging hits most of the right notes at Hungarian State Opera

Von George Jahn, 04 Februar 2024

Andrea Brassói-Jőrös shines in the title role of János Szikora's new staging of Dvořák's fairy tale opera.

****1

Andrea Brassói-Jőrös (Rusalka) and Zoltán Nyári (Prince) © Attila Nagy | Hungarian State Opera

New Rusalka staging hits most of the right notes in Budapest

Von George Jahn

Michael Nagy (Alberich) © Wiener Staatsoper | Michael Pöhn

Franz Welser-Möst begins his Ring farewell with a rousing Rheingold at the Staatsoper

Von George Jahn, 21 Juni 2023

Sven-Erich Bechtolf's staging of Wagner's Ring returns with Franz Welser-Möst at the helm for the final time, having recently announced his retirement of the cycle from his repertoire.

****1

Michael Nagy (Alberich) © Wiener Staatsoper | Michael Pöhn

Welser-Möst begins his Ring farewell with a rousing Rheingold

Von George Jahn

Natália Tuznik (Iphigenie) © Attila Nagy | Hungarian State Opera

Gripping Budapest revival of Iphigenie holds true to Gluck's aims

Von George Jahn, 06 Mai 2023

Cast and orchestra excel in a sensitive linking of Gluck’s music and drama in Róbert Alföldi's simple, direct production at the Hungarian State Opera.

****1

Natália Tuznik (Iphigenie) © Attila Nagy | Hungarian State Opera

Gripping Budapest revival of Iphigenie holds true to Gluck's aims

Von George Jahn

Szilvia Rálik (Elektra) and Atala Schöck (Klytaemnestra) © Attila Nagy | Hungarian State Opera

Elektra at Hungarian State Opera: all goes well... until the last minute

Von George Jahn, 29 April 2023

Balázs Kovalik’s interpretation of Elektra is revived in Budapest, impressing until the B-movie cliché finale.

****1

Szilvia Rálik (Elektra) and Atala Schöck (Klytaemnestra) © Attila Nagy | Hungarian State Opera

Elektra in Budapest: all goes well... until the last minute

Von George Jahn

Judit Varga © Szilvia Csibi | Müpa Budapest

On a voyage of self-discovery: Judit Varga

Von George Jahn, 04 Oktober 2022

At the beginning of her residency at MÜPA Budapest, we talk to the award-winning composer about the impact of gender bias, new works and the evolution of her creative process.

Judit Varga © Szilvia Csibi | Müpa Budapest

On a voyage of self-discovery: Judit Varga

Von George Jahn

Katalin Kokas and Barnabás Kelemen © László Emmer

Come join our musical family: Kelemen and Kokas on the Festival Academy Budapest

Von George Jahn, 04 Juli 2022

We spoke to the two Artistic Directors about this year's Festival, full of eclectic performers and events.

Katalin Kokas and Barnabás Kelemen © László Emmer

Barnabás Kelemen and Katalin Kokas on the Festival Academy Budapest

Von George Jahn

Splendid voices, restrained staging, but a surprise ending in Staatsoper's I puritani revival

Von George Jahn, 02 Juni 2022

Pretty Yende and John Osborn bring star quality to this revival of John Dew’s Vienna staging of Bellini's Civil War opera.

****1

A surprise ending in Staatsoper's I puritani revival

Von George Jahn

A feast for bass voices in the Wiener Staatsoper's sombre Boris Godunov

Von George Jahn, 15 Mai 2022

That Boris was sung by a Ukrainian in times like this might or might not have been a coincidence. But that Alexander Tsymbalyuk was an excellent choice for the role is indisputable.

****1

A feast for bass voices in the Staatsoper's sombre Boris Godunov

Von George Jahn

Sympathy for the Devil: Satan has to compete with exciting visuals in Mefistofele in Budapest

Von George Jahn, 10 April 2022

Balázs Kovalik’s opulent staging of Boito's Faustian opera threatens to overshadow the singers, but it makes for an exciting spectacle.

****1

Sympathy for the Devil in revival of Mefistofele in Budapest

Von George Jahn

Erkel's Hunyadi László a visual feast, but lacks Magyar spirit in Budapest's grand reopening

Von George Jahn, 13 März 2022

Szilveszter Ókovács' new production matches the opulent venue in all its eye-candy, with dazzling costumes, dark sets large crowds, and rapid scenic changes made possible by a newly installed mechanical stage.

***11

Erkel's Hunyadi László a visual feast, but lacks Magyar spirit

Von George Jahn

Hungarian State Opera © Valter Berecz | Hungarian State Opera

Hungarian State Opera: the rebirth of a giant

Von George Jahn, 10 März 2022

Bachtrack goes on a tour of the newly refurbished opera house in Budapest, to discover all the new tech wonders alongside the old splendour now shining again.

Hungarian State Opera © Valter Berecz | Hungarian State Opera

Hungarian State Opera: the rebirth of a giant

Von George Jahn

Csaba Polgár tries to make the best of La Fille du régiment in Budapest

Von George Jahn, 29 Januar 2022

Zita Szemere is a wonderfully ebullient Marie, but the new production at the Hungarian State Opera merits a mixed report card.

***11

Csaba Polgár tries to make the best of La Fille du régiment

Von George Jahn

A barren, but satisfying Don Giovanni from Barrie Kosky at the Wiener Staatsoper

Von George Jahn, 14 Dezember 2021

Frozen lava rock extends from the proscenium to the backcloth, an apt image to depict the harm Don Giovanni inflicts upon the other characters in Mozart's darkest opera.

****1

Kosky's barren but satisfying Don Giovanni at the Wiener Staatsoper

Von George Jahn

Giving the Devil his due: Méphistophélès steals the show in the Wiener Staatsoper's Faust

Von George Jahn, 04 November 2021

Adam Palka shines as the devil in this revival of Frank Castorf's multimedia staging that relocates the work to mid-20th century Paris, around the end of the Algerian War.

****1

Méphistophélès steals the show in Staatsoper's Faust

Von George Jahn

Bánk bán evokes the loneliness of the Magyars at the Erkel Theatre

Von George Jahn, 31 Oktober 2021

Considered Hungary's national opera, Ferenc Erkel's Bánk bán rarely travels beyond its borders, but is given a rousing performance by the Hungarian State Opera.

***11

Bánk bán evokes the loneliness of the Magyars at the Erkel Theatre

Von George Jahn

Chanhee Cho © Eduardus Lee

Young Artists To Watch: ChanHee Cho – Hard work and resilience

Von George Jahn, 02 November 2021

We speak to the South Korean bass about his never-faltering love for opera that even withstood the hardships of military service.

Chanhee Cho © Eduardus Lee

ChanHee Cho – Hard work and resilience

Von George Jahn

Rothko meets Rococo in the Wiener Staatsoper's new Il barbiere di Siviglia

Von George Jahn, 01 Oktober 2021

A bit too much buffo and scenic sensory overload mar the otherwise new enjoyable Il barbiere di Siviglia in Vienna.

***11

Rothko meets Rococo in the Staatsoper's new Il barbiere di Siviglia

Von George Jahn

Éva Marton with the winners of the 2021 International Éva Marton Singing Competition © László Mudra

“Vissi d'arte”: Éva Marton on serving the arts and her namesake competition

Von George Jahn, 28 September 2021

On candidates, contests and Covid: the Éva Marton Singing Competition is back on track after a near 17-month pause.

Éva Marton with the winners of the 2021 International Éva Marton Singing Competition © László Mudra

Éva Marton on serving the arts and her namesake competition

Von George Jahn

Vienna's “Lohengrin in Lederhosen” redeemed by musical performances

Von George Jahn, 30 Juni 2021

The performance of Wagner’s Lohengrin transcends Andreas Homoki's curious staging, redeemed by vocal and orchestral performances that shine in their nuanced artistry.

****1

Vienna's “Lohengrin in Lederhosen” redeemed by musical performances

Von George Jahn

Excellent revival of Claus Guth's Saul at Theater an der Wien

Von George Jahn, 20 April 2021

“How Excellent.” The first words sung in Handel’s Saul are in praise of God and were first uttered in a performance nearly three centuries ago. But they apply equally to Claus Guth’s interpretation of the work staged by Theater an der Wien.

*****

Excellent revival of Claus Guth's Saul at Theater an der Wien

Von George Jahn

Double vision in Wiener Staatsoper's Entführung... and the opera benefits

Von George Jahn, 16 Oktober 2020

Actors double up with singers in Hans Neuenfels' innovative production of Die Entführung aus dem Serail in Vienna.

*****

Double vision in Wiener Staatsoper's Entführung

Von George Jahn

An engaging revival of Simon Boccanegra at the Wiener Staatsoper

Von George Jahn, 18 September 2020

Tragic love, deceit, retribution... and Plácido Domingo. Despite its darkness, the Wiener Staatsoper's revival of Simon Boccanegra makes for an enjoyable evening.

****1

An engaging revival of Simon Boccanegra at the Wiener Staatsoper

Von George Jahn

Puccini is Calaf in Wiener Staatsoper's Turandot

Von George Jahn, 27 Februar 2020

A pleasurable evening of surprises in Marco Arturo Marelli’s Turandot.

****1

Puccini is Calaf in Wiener Staatsoper's Turandot

Von George Jahn

Hero or villain? Wiener Staatsoper's Don Giovanni leaves the question unanswered

Von George Jahn, 01 Dezember 2019

The Don is dark and light, the production somewhere in between, with strong singing and musical direction but stodgy staging.

****1

Hero or villain? Don Giovanni at the Wiener Staatsoper

Von George Jahn

Szinetár lets the laughs rule in Hungarian Magic Flute

Von George Jahn, 10 November 2019

The Hungarian State Opera's revival of The Magic Flute lacks a little magic.

**111

Szinetár lets the laughs rule in Hungarian Magic Flute

Von George Jahn