Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Robert Wilson

Une distribution un peu terne n'entache nullement le succès de la nouvelle Turandot proposée par l'Opéra de Paris, accueillie au rideau final par une standing ovation.

Le Théâtre des Champs-Élysées rouvre ses portes avec Le Messie de Haendel revisité par Mozart et mis en scène par Robert Wilson. Une production fascinante pour sa réalisation musicale et scénique.

 À Bastille, nouvelle reprise de Madame Butterfly dans la mise en scène historique de Robert Wilson. On adore ou on abhorre ; en tout cas, le plateau et l'orchestre font l'unanimité.

Robert Wilson's Madama Butterfly is back in Amsterdam starring rising star Elena Stikhina as the doomed Cio-Cio-San.

Zubin Mehta conducts Verdi's Otello in an iconic Robert Wilson production of stylized theater where less is more. The effect was mesmerizing.  

La soprano sueca brindó un recital sólido, prácticamente sin fisuras y superando con éxito las dificultades que plantean arias como "In questa reggia". Por su parte, el bajo búlgaro estuvo a la altura y, si bien no terminó de cautivar en el célebre "Nessun dorma", evidenció por lo demás dominio y empaque.

La obra póstuma de Puccini se presenta en el Real con muy buena acogida tras veinte años de ausencia. Reseñamos el segundo reparto de esta producción de Robert Wilson.

When they asked Wilson to stage an opera by Verdi, the Texan director replied "I'll never do it!". Now he is at his fourth Verdi's production.

La mise en scène à Bastille de Robert Wilson, d’une grande poésie plastique et gestuelle, réussi le pari de ne pas sacrifier l’onirisme à l’opposition des contraires. L'opéra est servi par des interprètes excellents.

Mikhail Baryshnikov collaborates with Robert Wilson and Lucinda Childs to present Letter To A Man based on the Diary of Vaslav Nijinsky. It is an exploration into the troubled mind of an iconic genius that struggles with its own problems.

Letter to a Man is a surrealist recount of Nijinsky's mental downward spiral as interpreted by Mikhail Baryshnikov, a man dedicated to a lifetime of dance.

A revival of Bertolt Brecht and Kurt Weill's Die Dreigroschenoper at the Théâtre des Champs-Élysées is a remainder of director and visual artist Robert Wilson's greatest achievements.

Robert Wilson's new production of La traviata in Linz succeeds in communicating the emotional depth of Verdi's tragedy despite his stylized minimalism.

Thanks to Wilson, to an orchestra in great shape, and to an excellent cast, this production was a success. Everybody did his best in the orchestra and in the chorus, without disregarding the soring passages of the score.

Pared-down sets and minimal stagework draw eyes and ears forward in concentration. Whilst the text is at times searingly erotic, Nero and Poppea never touch.

Zurich recently brought a new cast to Robert Wilson’s production of Vincenzo Bellini’s Norma, a triumph of the bel canto style.

Du 7 au 30 juin, la scène du Palais Garnier accueille Le Couronnement de Poppée, opéra de Monteverdi (1642), dans une version établie par le chef Rinaldo Alessandrini, assortie d’une mise en scène très poétique de Robert Wilson. Une production raffinée et élégante, néanmoins susceptible de décevoir les spécialistes de Monteverdi.

In the preface to his monumental 1919 play The Last Days of Mankind, Austrian satirist Karl Kraus said that it would take 10 evenings to stage and was “intended for a theater on Mars”. The National Theatre in Prague has got the running time down to slightly under two hours. Otherwise, that's not a bad description of what premiered on Wednesday night under the title 1914. 

Ivan Talijančić reviews Robert Wilson's production of The Life and Death of Marina Abramović at New York's Park Avenue Armory

Robert Wilson said, when preparing to stage Helmut Lachenmann’s deeply intricate and sensually vibrant opera Das Mädchen mit den Schwefelhölzern, that he could not imagine staging it in a typical opera house. He could not have found a better hall than the Jahrhunderthalle in Bochum, a medium-sized town about an hour north-east of Düsseldorf and one of the host cities of this year’s Ruhrtriennale.

Claude Debussy’s only opera, Pelléas et Mélisande, calls for a spring in a forest, scenes in a palace, a well in a park and a scene in the palace vaults. Ever since its premiere in 1902, it has been a difficult work to stage, and indeed to appreciate. Its complex symbolism, impressionistic music and lack of any memorable melodies were not a good recipe for a runaway hit.

It isn’t so much that Einstein on the Beach is impossible to summarise, I don’t think, as that it’s just impossible generally. At least, if you were to list this opera’s various constituent elements to somebody, and ask them if it was basically plausible, they would probably say no. Suffice it to say the following: it is four and a half hours long and there is no interval.