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Kurt Weill's musical, with its focus on psychoanalysis, makes its Austrian premiere in the city of Sigmund Freud. 

In spite of some good singing, the Volksoper's update of Werner Richard Heymann's 1931 movie doesn't quite catch fire.

Wagnerians who are unfamiliar with the subtle humour of German humourist Loriot might sneer at the mere thought of paying to hear a version of the tetralogy that is cut by about 80% of the total score, but this was not the case with the regular Viennese Ring-goers who filled this performance. And judging from the applause, it was a worthwhile experience for them as well as for Wagner rookies.

The message of Voltaire’s novel Candide, ou l’Optimisme is that rationality and reason, rather than custom, faith or authoritative orders should determine all human activity, and although this quintessence of the Age of Enlightenment sounds self-evident nowadays, a visit to the newspaper kiosk shows us otherwise: a lot of luridly-titled guidebooks and magazines try to talk us into believing that a

After twelve long years, Oscar Straus’ Ein Walzertraum has made it back to the Volksoper, the place where it belongs for its indestructible Viennese spirit and never-ending popularity, and where Robert Meyer, the house’s boss and director on this occasion, customarily ensures that the traditional operetta is sheltered from modernist conceptual stagings.

Späßchen hier und dort, ein paar Überraschungsmomente: Benatzkys musikalische Komödie ist ein unterhaltsamer Abend an der Volksoper.

Hundert Jahre nach der Weltpremiere von Il trittico gelingt der Volksoper Wien ein würdiger Tribut an Puccinis Werk.

Manchmal kommt doch Besseres nach: Die Nachfolgerin der beliebten Produktion aus den Achtzigern ist aufregender denn je.

Opulenz in Bild und Ton, garniert mit Wiener Schmäh.