Iphigénie en Aulide et Tauride im Theater an der Wien: Verdammt (und) gut

Keine Folklore, kein Kitsch, dafür political correctness: Torsten Fischers Inszenierung bürstet die Klischees der Zauberflöte gegen den Strich und landet trotzdem einen Überraschungserfolg.

Torsten Fischers Inszenierung am Theater an der Wien ist erwartungsgemäß einen Besuch wert.

Osborn absolutely lives the part; he negotiated formidable heights, intricate passage work and the sheer volume of notes with style and clarity as well as colour and nuance. 

Torsten Fischer's Nazified production of Strauss' Daphne in the Semperoper Dresden may leave you confused, but it receives a solid performance. 

Institutional violence has been a running theme in Torsten Fischer’s series of Gluck operas at the Theater an der Wien, albeit with a lid kept firmly on the idea of actual conflict.

With two happy endings, two recognition scenes, and a second act that seems more of a self-contained sequel than a conclusion to the first, Gluck’s Telemaco has come in for a musicological pasting over the years for its alleged weaknesses of dramatic content and construction.