Seven years after their production was voted as “production of the year” at Oper Stuttgart, Jossi Wieler and Sergio Morabito's La sonnambula opens in Berlin.
Deutsche Oper Berlin staged an ambitious production by Laurence Pelly with mixed results. The performance included new discoveries and young singers brought fresh energy to the evening.
In a dated production by Hans Neuenfels, conductor Giacomo Sagripanti leads a musically successful Trovatore, where Angela Meade and Anita Rachvelishvili show their vocal brilliance.
Deutsche Oper Berlin's Salome was a mixed blessing: a magnificent Catherine Naglestad as the heroine, with good ensemble of singers and orchestra, but a thoughtful but far-fetched psychological interpretation.
In L’Invisible, which had its première last weekend at the Deutsche Oper Berlin, Aribert Reimann has condensed three plays by Maeterlinck into bite-size chunks that vanish before they can be savoured.
January of 2017 sees the return of Verdi's Nabucco at the Deutsche Oper Berlin. This Keith Warner production of a Verdi favorite was successfully premiered by the Deutsche Oper in 2013, in the 200th anniversary year of Verdi's birth.
People who claim that opera is nothing more than a glorified pantomime would have their prejudices confirmed at Deutsche Oper Berlin's Un ballo in maschera. This is, however, high praise. It’s an evening of camp entertainment, not a philosophy lesson.
Meyerbeer's little performed work is given an enthusiastic rendering, with star singing from a big cast led by Flórez, Ciofi and Jerkunica. David Alden's quality Personenregie makes up for some unconvincing setting choices.
Enjoy this light and elegant opera buffa based on the play by Pierre Augustin Caron de Beaumarchais before year's end, as 2016 marks the 200th anniversary year of its premiere.
Deutsche Oper Berlin performed an intensely focussed opera on the birth and death of one man based on Jon Fosse's novel – a memorable and moving contemplation on life.
Deutsche Oper Berlin’s 1980 production of Donizetti’s romantic tragedy gets a new life with a pair of young singers who valiantly and elegantly sang the doomed lovers.
A modern updating of Vasco da Gama's discovery of a sea route to India? Vera Nemirova's stylish production of Meyerbeer's Grand Opéra works inteligently for the most part.
An audience dominated by families enjoys Humperdinck's Hänsel und Gretel as the Deutsche Oper gives a demonstration of how to build the audiences of the future.
Michaela Kaune, Albert Pesendorfer, Eun Yee You and Elīna Garanča transported the audience to a lost time and place, even while embodying their characters’ ultimate timelessness.
Deutsche Oper's production of Turandot ends with a double murder. Whatever point director Lorenzo Fioroni may have been trying to make about unhinged power, it failed to solve the problems of the ending of Puccini's opera.
A strong cast headed by Peter Seiffert perform in this visually appealing Tannhäuser at the Deutsche Oper in Berlin, where Markus Brück excels as Wolfram and Petra Maria Schnitzer takes on the role of the temptress Venus and the saintly Elisabeth.
After his final opera, Falstaff (1893), Verdi founded a home for retired musicians. Director Christof Loy related these two achievements by setting the opera in the nursing home...
What makes this production of The Rape of Lucretia stand out is the singers’ acting. It’s immediate, it’s integrated into the singing, and it’s better than anything I’ve seen in any opera production before.
Richard Strauss' Ariadne auf Naxos amuses in a concert version put on by the Deutsche Oper at the Philharmonie in Berlin, with good performances from Meagan Miller (Ariadne) and Susanne Elmark (Zerbinetta).
A rare chance to hear Meyerbeer's comic opera Dinorah performed in a concert version by the Deutsche Oper Berlin leaves the reviewer concurring with the verdict of history.
Though it has run for 45 years, the Deutsche Oper Berlin’s Tosca is both timeless and a relic. Stand-in tenor Stefano La Colla's impassioned performance drew a standing ovation.
Parsifal at the Deutsche Oper Berlin is both sublime and terrifying. Vincke's Parsifal was bold and heroic while Herlitzius sang with a silver, sinuous soprano. Stolzl's production gave us the fanaticism of religion rather than hope.
