Live, Video: Find classical music concert, opera, ballet and dance reviews | Franz Tscheck

Herheim’s Fledermaus is a risky experiment that, miraculously, works – at least in a city that knows it so intimately.

At MusikTheater an der Wien, Miroslav Srnka’s new opera provess a deeply compelling, meticulously crafted work. It may not uplift, but it sears itself into the memory.

“Lima darf nicht Österreich werden!” Offenbach's operetta is set in Lima, but really it’s Vienna in director Nikolaus Habjan uproarious production. 

Salzburg's new staging of Enescu's operatic epic Oedipe is a visual and musical triumph.

Osborn absolutely lives the part; he negotiated formidable heights, intricate passage work and the sheer volume of notes with style and clarity as well as colour and nuance. 

Kay Link's new production of Handel's pasticcio Oreste is surprisingly strong theatrically, often musically too. 

To those unfamiliar with Victor Ullman’s Der Kaiser von Atlantis, oder Die Tod-Verweigerung, the story of the work’s inception is almost as gripping as the libretto itself. 

A very creative reading – both scenically and musically – of Engelbert Humperdinck’s fairy tale opera Hänsel und Gretel for Theater an der Wien's final production of the season at the Kammeroper.

Musikalisch begeistert vor allem Franz Welser-Möst im Orchestergraben; Nikolaus Habjan bringt seine Puppen.

Seefahrender Konquistador des 16. Jahrhunderts trifft auf ausbeuterischen Plantagenbesitzer des 19. Jahrhunderts: die Regisseurin Anika Rutkofsky veleiht dem Fliegenden Holländer in Nürnberg eine eigene Wendung.

Die Kammeroper zaubert mit wenigen Zutaten ein Paradebeispiel lebendigen Musiktheaters.

Das junge Ensemble des Theater an der Wien bringt Tommaso Traettas nur selten aufgeführte Oper Antigone an die Wiener Kammeroper