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Simone Schneider (Sieglinde) and Stuart Skelton (Siegmund) © Bálint Hirling, Müpa

Wälsungenblut: Simone Schneider and Stuart Skelton shine at Budapest Wagner Days

Von Orsolya Gyárfás, 16. Juni 2023

The pure magic of Ádám Fischer and the Hungarian Radio Symphony Orchestra delights with two brilliant leads, but others disappoint on the second day of Müpa's Ring.

***11

mehr

***11

Budapest

16. Juni 2023

Wälsungenblut: Schneider and Skelton shine at Budapest Wagner Days

Von Orsolya Gyárfás

Glasgow

A dark, unflinching Rigoletto from Scottish Opera

Von Gregor Forbes, 18. Oktober 2018

More relevant than ever, the patriarchal nightmare of Verdi's Rigoletto is dark and unflinching in Scottish Opera's revival of their 2011 production, with some striking scenes and fine singing.

****1

mehr

****1

Glasgow

18. Okt. 2018

A dark, unflinching Rigoletto from Scottish Opera

Von Gregor Forbes

Wien

Hagen: Part 1 of a “Second Generation” Ring at the Theater an der Wien

Von Chanda VanderHart, 17. Dezember 2017

Hagen, the first chapter in the Theater an der Wien's reimagining of The Ring, features music from Das Rhinegold and Götterdämmerung woven seamlessly together, telling the story from the perspective of Hagen, son of Nibelung dwarf, Alberich.

***11

mehr

***11

Wien

17. Dez. 2017

Hagen: Part 1 of a “Second Generation” Ring at the Theater an der Wien

Von Chanda VanderHart

Wien

Constantin Trinks’ cut and paste Siegfried is far from idyllic at the Theater an der Wien

Von Jonathan Sutherland, 9. Dezember 2017

Tatjana Gürbaca’s whole scale tampering with Wagner’s Siegfried had so many flashbacks and flashforwards there should have been a warning for photosensitive members of the audience.

**111

mehr

**111

Wien

9. Dez. 2017

Trinks’ cut and paste Siegfried far from idyllic

Von Jonathan Sutherland

Montreal

Montreal's Otello ticks the boxes

Von Patricia Maunder, 30. Januar 2016

An impressive trio of international singers carry Opéra de Montréal's traditional new production of this Verdi tragedy.

****1

mehr

****1

Montreal

30. Jan. 2016

Montreal's Otello ticks the boxes

Von Patricia Maunder

Naples

A Carmen in Naples which doesn't get to the heart of the drama

Von Lorenzo Fiorito, 16. Dezember 2015

The story still remained moving and the performance was musically pleasant, but the staging did not convince overall

***11

mehr

***11

Naples

16. Dez. 2015

Carmen in Naples

Von Lorenzo Fiorito

Wien

A tangled knot: Milhaud’s La mère coupable at Theater an der Wien

Von Chanda VanderHart, 12. Mai 2015

I have no objection per se with naked women bathing in blood, masturbating to crucifixes or being flagellated by priests in confessional booths, but only if it somehow aids understanding of the story

**111

mehr

**111

Wien

12. Mai 2015

A tangled knot: Milhaud’s La mère coupable

Von Chanda VanderHart

Bern

L'ambition confuse de la Salomé bernoise

Von Elodie Olson-Coons, 28. Januar 2015

Une décevante production de l'opéra de Richard Strauss au Konzertheater de Bern.

**111

mehr

**111

Bern

28. Jan. 2015

Ambition confuse de la Salomé bernoise

Von Elodie Olson-Coons

San Diego

Glitter and Be Vengeful: San Diego Opera’s A Masked Ball

Von Erica Miner, 8. März 2014

Love and death, jealousy and revenge, assassination and intrigue, culminating in a dazzle of song, dance, and a shower of sparkling gold: San Diego's A Masked Ball has it all.

*****

mehr

*****

San Diego

8. März 2014

Glitter and Be Vengeful: San Diego Opera’s A Masked Ball

Von Erica Miner

Wien

Strong storytelling in the Theater an der Wien’s Tales of Hoffmann

Von Zwölftöner, 2. April 2012

Director William Friedkin doesn’t put a dramaturgical foot wrong in his Theater an der Wien production of The Tales of Hoffmann and yet doesn’t challenge, or even engage with, any of the opera’s Romantic positions.

****1

mehr

****1

Wien

2. Apr. 2012

Strong storytelling in the Theater an der Wien’s Tales of Hoffmann

Von Zwölftöner