George Jahn is the former Vienna bureau chief of The Associated Press. During his 35-year career at the global news organization, he covered wars, politics... and opera, reviewing productions at the Vienna State Opera, the Salzburg Festival, Bayreuth Festival and other houses in Austria and Germany. He has also written for Opera Now and International Piano magazines in London. Those he has interviewed include Matthias Goerne, Vesselina Kasarova, Thomas Hampson and Mariss Jansons. George holds or shares awards for his reporting on U.N. affairs and for his coverage of the Bosnian war. A Canadian/Hungarian citizen, he splits his time between residences in Vienna and Budapest.
Romeo Castellucci's intense production of Bartók's opera reaps its rewards in the performance under Teodor Currentzis, but Carl Orff's opera-oratorio De temporum fine comoedia feels little more than a drab filler.
That Boris was sung by a Ukrainian in times like this might or might not have been a coincidence. But that Alexander Tsymbalyuk was an excellent choice for the role is indisputable.
Szilveszter Ókovács' new production matches the opulent venue in all its eye-candy, with dazzling costumes, dark sets large crowds, and rapid scenic changes made possible by a newly installed mechanical stage.
Bachtrack goes on a tour of the newly refurbished opera house in Budapest, to discover all the new tech wonders alongside the old splendour now shining again.
Frozen lava rock extends from the proscenium to the backcloth, an apt image to depict the harm Don Giovanni inflicts upon the other characters in Mozart's darkest opera.
Adam Palka shines as the devil in this revival of Frank Castorf's multimedia staging that relocates the work to mid-20th century Paris, around the end of the Algerian War.
Considered Hungary's national opera, Ferenc Erkel's Bánk bán rarely travels beyond its borders, but is given a rousing performance by the Hungarian State Opera.
The performance of Wagner’s Lohengrin transcends Andreas Homoki's curious staging, redeemed by vocal and orchestral performances that shine in their nuanced artistry.
“How Excellent.” The first words sung in Handel’s Saul are in praise of God and were first uttered in a performance nearly three centuries ago. But they apply equally to Claus Guth’s interpretation of the work staged by Theater an der Wien.
Tragic love, deceit, retribution... and Plácido Domingo. Despite its darkness, the Wiener Staatsoper's revival of Simon Boccanegra makes for an enjoyable evening.
