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The Zurich Opernhaus tackles the pandemic with an innovative strategy: instead of reducing the size of orchestra and chorus (as many other European opera houses) it removes them from the theatre altogether. 

In its revival here in Zurich, the soloists and choir of Beethoven's Fidelio give stellar vocal performances. But having done away with any real set, the opera was not without its shortcomings.

In the Zurich premiere of The Little Match Girl, choreographer Christian Spück tackles a project of major proportions.

A production which has Robert Wilson's signature all over it, but feels like a wagon in front of the horse.