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In Robert Carsen's staging, the “dead city” is absent: the scenery showing a bourgeois room that one imagines overlooking a bright avenue in Vienna or Berlin rather than a dark alley in Bruges.

There’s no doubt that Mélisande endeavours to escape past troubles when she first appears in Barrie Kosky’s production of Debussy’s opera, yet Nadja Mchantaf is no reticent, wispy maiden. Every vocal and physical gesture – always precise and penetrating – displays an atypically forthright quest for vitality, something that Arkel’s chauvinistic world does not readily offer.

Franz Schreker’s Die Gezeichneten (The Branded One) is an unsettling work given the storyline’s background of abduction and clandestine sexual abuse. Calixto Bieito, as expected, eschews ambiguity regarding what goes on behind the scenes, and casts even the titular cripple Alviano Salvago in a damning light.

Dans le cadre de sa programmation estivale, l'opéra comique de Berlin proposait une nouvelle production de Barbe-Bleue de Jacques Offenbach.