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Intérprete: Hans Neuenfels

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MúnichManon Lescaut

© Wilfried Hösl
Puccini: Manon Lescaut
Marco Armiliato; Hans Neuenfels; Bayerische Staatsoper; Stefan Mayer; Andrea Schmidt-Futterer; Sonya Yoncheva; Stefano La Colla

BerlínSalome

Strauss R.: Salomé
Thomas Guggeis; Hans Neuenfels; Staatsoper Berlin; Reinhard von der Thannen; Vida Mikneviciute; Johan Reuter

VienaDie Entführung aus dem SerailNew production

Mozart: El rapto en el serrallo (Die Entführung aus dem Serail)
Antonello Manacorda; Hans Neuenfels; Wiener Staatsoper; Christian Schmidt; Bettina Merz; Brenda Rae; Regula Mühlemann
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Double vision in Wiener Staatsoper's Entführung

Christian Nickel (Bassa Selim) and Lisette Oropesa (Konstanze) © Michael Pöhn | Wiener Staatsoper GmbH
Actors double up with singers in Hans Neuenfels' innovative production of Die Entführung aus dem Serail in Vienna. 

Oscar Wilde takes centre stage in Staatsoper's Salome

Aušrinė Stundytė (Salome) and Christian Natter (Oscar Wilde) © Monika Rittershaus
The Staatsoper revives a confused production by Hans Neuenfels, under the baton of Thomas Guggeis.

Jansons trumps Neuenfels' tame Pique Dame in Salzburg

Evgenia Muraveva (Lisa) and Brandon Jovanovich (Hermann) © Monika Rittershaus
Mariss Jansons and the Vienna Philharmonic do the real storytelling as Hans Neuenfels' staging underwhelms.

Rachvelishvili triumphs as Azucena in Berlin

Angela Meade (Leonora) and Annika Schlicht (Ines) © Bettina Stöß
In a dated production by Hans Neuenfels, conductor Giacomo Sagripanti leads a musically successful Trovatore, where Angela Meade and Anita Rachvelishvili show their vocal brilliance.

Neuenfels' bloodless Salome in Berlin

Ausrine Stundyte (Salome) and Christian Natter (Oscar Wilde) © Monika Rittershaus
Hans Neuenfels new Salome proves a strangely non-committal affair at the Staatsoper, but Thomas Guggeis conducts impressively.

A sizzling myth of matricide

Evelyn Angela Gugolz (Klytaemnestra) and Georg Nigl (Orest) © Judith Schlosser
In the hands of director Hans Neuenfels, the Swiss première of Manfred Trojahn’s Orest was widely anticipated for its “splashes of gore and commensurate splatters of sound”.