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Benjamin Bernheim leads a very good cast in a revival of Tatjana Gürbaca's interesting 2017 production. 

The Opernhaus Zürich presents yet another Cenerentola with Cecilia Bartoli in the title role, surrounded by a great cast, with the support of the period orchestra La Scintilla, under Gianluca Capuano's knowledgeable baton.

The Opernhaus Zürich revives a successful production by Barrie Kosky with a great cast under Gianandrea Noseda's baton.

The Opernhaus Zurich revives Jan Philipp Gloger’s production, for a performance with mixed results: a solid cast of singers under Christoph König’s heavy baton.

Opernhaus Zürich presents a Salzburg Festival production of Rossini’s first masterpiece, with a stellar cast and an orchestra on original instruments, under the baton of Gianluca Capuano.

Tenor Marcelo Álvarez and baritone George Petean both pull double duty in this classic verismo bill, revived effectively in Grischa Asagaroff's staging.

A great cast in Zurich, under the inspired baton of Enrique Mazzola, although David Alden's new production does not completely convince.

The Opernhaus Zürich revives Robert Carsen’s 1990 production, with a strong cast led by Sonya Yoncheva and Joseph Calleja.

The Zurich Opernhaus tackles the pandemic with an innovative strategy: instead of reducing the size of orchestra and chorus (as many other European opera houses) it removes them from the theatre altogether. 

Nothing on New Year’s Eve could have been more festive than the spirited production of Rossini’s La Cenerentola that Zurich Opera staged with Cecelia Bartoli in the lead role.

A production which has Robert Wilson's signature all over it, but feels like a wagon in front of the horse.

Mit Julie Fuchs und Benjamin Bernheim stehen zwei fantastische Sänger-Darsteller auf der Bühne. Doch wo spielt die Oper eigentlich? Und warum wird der Familienkonflikt so harmlos dargestellt?

Gaetano Donizettis Oper muss ohne Chor auskommen und auch das Orchester ist nicht so ganz live dabei. Ein Experiment, das dennoch erstaunlich gut klingt.

In einer enttäuschenden Inszenierung sind es Sänger, Dirigent und Orchester, die Verdis Oper der szenischen Langeweile zum Trotz zu einem Genuss machen.

Bei den Salzburger Festspielen überfrachtet Regisseur Simon Stone Luigi Cherubinis Oper mit Regieeinfällen, die zwar schlüssig sind, aber zu oft von der Musik ablenken.