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William Kentridge’s Glyndebourne staging reaches Athens with Nico Muhly’s modern orchestration and an all-Greek cast.

One element of the Orpheus myth is about creativity, so at Glyndebourne, William Kentridge sets Monteverdi’s opera in an artist's studio, 

William Kentridge's production of Berg’s Wozzeck has it all: wonderfully imaginative and disturbing designs, terrific acting and singing plus fabulous orchestral playing. 

Despite theatrical drawbacks, this Wozzeck is heartily recommended due to Yannick Nézet-Séguin's staggering understanding of all facets of Berg's score.

Kentridge’s use of video technology creates another, highly complex, visual score next to Berg’s sonic one.

A skilfully constructed production, and one that plays with the our perspectives. Whether the images are flashbacks from a war-troubled Wozzeck or a Büchner-esque portent of the horrors to come is left for the audience to decide.

William Kentridge's Lulu for ENO is easier to admire than it is to love. But if you want to be challenged dramatically, this is the opera to do it.

In addition to incorporating twelve-tone rows for each character and within larger musical units like canons and chorales, the entirety of the opera itself is palindromic in structure, with performers whose characters died gruesome deaths during the first act returning as new characters in the third.

The child-woman Lulu is a reflective receptacle for desire in Dutch National Opera’s extraordinary filmic production.

Le très grand Wozzeck de Bastille ne se contente pas de faire écho à l'actualité : il brille surtout par une esthétique glaçante et une équipe mémorable.

Si le Teatro all’Opera de Rome a souvent fait preuve de conformisme par le passé, l’audace des productions de la saison 2016/2017 lui redonne un nouveau souffle. Après une Maria Stuarda magnifique c’est au tour de Lulu, chef-d’œuvre d’Alban Berg qui n’avait pas été donné à Rome depuis 1968, d’occuper la scène du Teatro dell’Opera.