En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Caroline Melzer

Wie schon bei der Premiere 2016 bietet Renaud Doucets Inszenierung ideale Voraussetzungen für einen hochwertigen Hoffmann.

In a reconstruction of Jean-Pierre Ponnelle’s production for the world première of Reimann’s soul-pummelling Lear, the staging stands the test of time, but the cast and orchestra leave the biggest impression.

Offenbachs Pariser Leben in einer Neuinszenierung an der Volksoper: Freunde von Paris, Offenbach und der zeitgenössischen Lesart von Operetten kommen nicht nur musikalisch auf ihre Kosten.

Wagnerians who are unfamiliar with the subtle humour of German humourist Loriot might sneer at the mere thought of paying to hear a version of the tetralogy that is cut by about 80% of the total score, but this was not the case with the regular Viennese Ring-goers who filled this performance. And judging from the applause, it was a worthwhile experience for them as well as for Wagner rookies.

Smetana wrote Prodaná nevěsta (“The Bartered Bride”) as a light Czech folk piece in a playful reply to critics who said that his music was too Wagnerian, or too German for that matter – something not compatible with the growing Czech national consciousness in the period he composed it (1863–66), even though he only showed mild interest in the Czech cause.

After twelve long years, Oscar Straus’ Ein Walzertraum has made it back to the Volksoper, the place where it belongs for its indestructible Viennese spirit and never-ending popularity, and where Robert Meyer, the house’s boss and director on this occasion, customarily ensures that the traditional operetta is sheltered from modernist conceptual stagings.