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Hoffmann goes Steampunk: Renaud Doucet’s staging for the Volksoper is the exception to the sensible rule that “less is more”.

Humperdinck called his greatest hit a “Kinderstubenweihfestspiel” (a festival play for the consecration of the nursery) and the course of time has proven this joke appropriate: while Parsifal around Easter is the high point of the year for Wagnerians, Hänsel und Gretel at Christmastime is for everybody (including all those who claim they can’t stand Wagner and ignore the influence he had on Humpe

Mozart wrote the opera seria Mitridate at the age of fifteen. The Bayerische Staatsoper’s clever and strangely beautiful production positions it as the work of a child, full of rebellious teenagers and projected scenery seemingly drawn from a primary school art class.

How to stage The Abduction from the Seraglio in Vienna, a city not exactly known for its sensitivity towards its Turkish minority? Mozart’s opera doesn’t, it should be said, contain nearly as much politically incorrect embarrassment as the rhetoric of some of Austria’s modern-day political parties, but the abusive boor Osmin and the Western women enslaved by his short-fused ganglord are images whi

In Verdis Familiendrama I masnadieri singen Anja-Nina Bahrmann und Kurt Rydl in ihrem Duett einen Höhepunkt des Abends.

Optisch ansprechend, musikalisch auf hohem Niveau: Die Volksoper gibt Millöckers Bettelstudent mit neuem Textbuch und Zitaten aus der Pop-Kultur.