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Using the Nazi regime as his Leitmotif, Canadian director Robert Carsen brings Richard Strauss’ Arabella to the Zurich stage. 

Ligeti's “anti-anti opera” opens in Zurich in a new production by Tatjana Gürbaca. 

Barrie Kosky’s production of Franz Schreker’s Die Gezeichneten (The Branded) is in keeping with what was long considered one of the early 20th century’s most scandalous works. 

Heinz Holliger’s Lunea, which recently premiered at the Zurich Opera House, is “not an opera”, or so the ground-breaking Swiss composer contends.

Apparently, the composer himself was a notorious cheater, we can assume that some of the unsavoury themes of his 1904 opera “Madame Butterfly” were close to the bone.

A powerful and emotional staging by Bieito with five-star performances from both leads.  

Just as rereading a favourite novel can give the reader new literary impulses to explore, so, too, can the revival of a popular ballet offer a fresh interpretation.

A rich showcase of bel canto Romantic tragedy, this renewal of the Giancarlo del Monaco production made a vehicle for insights into jealousy, conscience, and deviousness “on a Royal scale”.

Zurich recently brought a new cast to Robert Wilson’s production of Vincenzo Bellini’s Norma, a triumph of the bel canto style.

Luisa Miller in Zurich is a finely crafted and intelligent production in which Verdi's music supports a tragic story of bourgeois respectability. 

La mise en scène de Robert Carsen reste trop littérale et la direction de Markus Poschner trop anguleuse pour la comédie lyrique de Strauss.

Andreas Homoki schafft mit seiner Neuinszenierung ein psychologisch raffiniert konstruiertes Gesamtkonzept.

Der Zürcher Konzertchor und das ZKO geben ein interessantes Konzert, das dazu anregt, sich wieder mehr mit Rossinis Messe zu befassen.