In February 2022 Bachtrack reviewed 123 events in 45 cities:

This is where Bachtrack was in February 2022

Here are ten reviews in English you shouldn't miss, according to our Editor:

Die Walküre in Melbourne

Melbourne Opera has done a magnificent job with this Die Walküre production. Everything about it has succeeded. And maybe in Zara Barrett they have discovered a new Brünnhilde.

Suzanne Chaundy's production of this saga for Melbourne Opera is outstanding” 

Warwick Fyfe (Wotan)
© Robin Halls

Fidelio in New York City

Heartbeat’s Fidelio is a dramatic reworking in every sense of the term. It’s bold and unflinching, borrowing from Beethoven to tell tales too horrible to tell. 

the Prisoner’s Chorus... sung by inmate choirs from six penal institutions across the country

Derrell Acon (Roc) and Curtis Bannister (Stan)
© Russ Rowland

Peter Grimes in Vienna

In much anticipated role (Kaufmann) and stage (Davidsen) debuts, this revival of Peter Grimes at the Staatsoper was much anticipated, despite a production that should be put out to sea without a paddle.

Kaufmann's... fisherman is a broken figure, driven mad by grief

Sir Bryn Terfel (Captain Balstrode) and Jonas Kaufmann (Peter Grimes)
© Michael Pöhn | Wiener Staatsoper GmbH

Ellen Reid premiere in Seattle

Ellen Reid’s evocation of life under Covid restrictions captures its essence: boredom, frustration and seemingly endless continuance.

excitable percussion, or slithery glissandi dropped in, like short tempers exploding or meltdowns

Ruth Reinhardt conducts the Seattle Symphony
© James Holt | Seattle Symphony

Bajazet in London

In its Royal Opera House debut, Irish National Opera's high-energy Bajazet provides a great evening for Baroque fans and sceptics alike.

an electrifying production by Adele Thomas

Gianluca Margheri (Bajazet)
© Kip Carroll

Tchaikovsky, Enescu and Hailstork in Buffalo

A well-known rhapsody and symphony bracket Adolphus Hailstork's 1992 Piano Concerto in an all-around convincing performance featuring exciting soloist Stewart Goodyear.

The Scherzo... was the most tightly controlled performance of this movement I’ve ever heard

Adolphus Hailstork and JoAnn Falletta
© Buffalo Philharmonic Orchestra

The Makropulos Case in Berlin

Director Claus Guth's new production for the Staatsoper Berlin is a bit of a mixed bag but the evening succeeds more on its musical merits, with a splendid ensemble of singers and orchestra conducted by Sir Simon Rattle.

Marlis Petersen... in her element as the self-centred, cold, calculating yet vulnerable diva

Marlis Petersen (Emilia Marty), Bo Skovhus (Jaroslav Prus), Jan Ježek (Hauk-Šendorf), dancers
© Monika Rittershaus

Gonzalo Garcia's farewell in New York City

Gonzalo Garcia bows out from NYCB with a ridiculously ambitious program of Robbins, Peck and Balanchine.

it’s rare to have dancers leave the stage before the stage leaves them

Gonzalo Garcia
© Paul Kolnik

Jenůfa in Vienna

Director Lotte De Beer's thoroughly realised, aesthetically rich and beautifully executed production of Janáček's masterpiece is anchored by strong performances from Nina Stemme and Svetlana Aksenova.

Svetlana Aksenova is devastating in the title role, presenting a woman who is imprisoned

Svetlana Aksenova (Jenůfa) and Nina Stemme (Kostelnička Buryjovka)
© Werner Kmetitsch

Pique Dame in Milan

Valery Gergiev finally turns up to conduct an electrifying evening, crowned by Asmik Grigorian's full throttle performance as Liza. 

the orchestra vodka drenched, with grumbling low woodwinds matching the conductor’s growling

Najmiddin Mavlyanov (Hermann) and Asmik Grigorian (Liza)
© Brescia e Amisano | Teatro alla Scala

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