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Salome is faceless and the Dance of the Seven Veils becomes a sardonic commentary on seduction in Komische Oper Berlin's austere new staging. 

The last of Jacques Offenbach's great buffo operettas provides an opportunity for topical satire but Max Hopp’s attempts at updating it fall short of the mark.

A dearth of nuance affects this new production of Verdi's late masterpiece in Berlin, set in Sir John's gourmet kitchen. 

Celebrating his tenth and last season at the head of Komische Oper, Kosky treats himself to a revival of his 2017 production, which shows no signs of aging.

Leigh Melrose appears in a strong new Œdipe directed by Evgeny Titov to open the 2021-22 season at the Komische Oper. 

Stefan Herheim packs puns and gags into a three-hour long show, but less could have been more. 

“Fiddler on the Roof” as a universal parable of tradition 

Barrie Kosky's 2011 production confines the action of the opera to a stark white room. A fine ensemble of singers made for a successful evening.

Kein Mozart für Puristen: Serebrennikov schafft ein dicht erzähltes Sozialdrama über unermesslichen Wohlstand, die Schattenseiten der hochstilisierten Glamourwelt und all jene, auf deren geschundenen Rücken dieser Reichtum verdient ist.

Comique et extravagance olé olé sont les mots clés de cette production réjouissante signée Barrie Kosky et incarnée par une distribution aux multiples talents...

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