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Mussorgsky’s rich, complex music and Boris Godunov’s tragic story is told with very original vision in Tugan Sokhiev’s concert version. The Salle Pleyel made no mistake about it: this Boris will stay in our memories for a while.

The Theater an der Wien has a storied history with Fidelio, having hosted the première of the work’s first and second versions in 1805 and 1806 respectively.

Productions of Monteverdi’s Il ritorno d’Ulisse in patria which make the title character a returning war veteran, preferably one returning from a juicy topical war, are nothing new, and director Claus Guth doesn’t stretch the well-worn conceit much further in this listlessly vague staging for the Theater an der Wien.