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A disappointing staging of Weber's supernatural opera by Compagnie 14:20 in Paris

A musically strong revival of an austere production still leaves one feeling short-changed.

The second instalment of the Erl Ring Cycle brings an even more lively staging, but with a somewhat mixed vocal performance.

Iolanta and Francesca da Rimini work particularly well as a double bill because both works share the theme of lovers who find themselves at the mercy of possessive forces. Iolanta's domineering father ultimately yields in Tchaikovsky's opera, but in Rachmaninov's the deceitful Lanceotto is not so accommodating.

Au Théâtre des Champs-Élysées, la Compagnie 14:20, familière des arts du cirque et de la magie, propose une vision éminemment originale du Freischütz. Mais dans ce spectacle atypique, la magie est également vocale.

Roger Vontobels Operndebüt im neuen Hamburger Tell beweist Mut und Fingerspitzengefühl und erweist sich Schmähkritiken zum Trotz als durchaus sehenswert.