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Omer Meir Wellber’s Mozart-Ullmann mash-up sounds like a terrible idea, but absolutely hits the mark. 

When is The Nutcracker not The Nutcracker? When's it's mashed together with Tchaikovsky's Iolanta to represent the blind princess’ inner world in a dark interpretation. 

A haunting, musically compelling impression of a woman whose life was shaped by creation, loss, and unfulfilled thirst for personal expression.

Lotte de Beer’s new retelling at the Volksoper reintroduces the element of shock into Bizet's popular opera. 

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

Movement was so effectively utilised in this production, with elements of ballet, modern and Scottish folk melded in true Agnes de Mille fashion.

In the city of Freud there is nothing like a bit of family drama to put one in the mood for a great season of opera!

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

Movable walls, some adorned with Baroque frescoes, partition the stage in ways that remind the viewer of the easy proximity of the masters and servants' quarters in Almaviva's estate.

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

Marco Arturo Marelli’s extravagant art deco production is one of the most successful productions available at the Volksoper. It's an appropriate and lighthearted choice to celebrate 25 years of Ildikó Raimondi.

A night in the cheerful undemanding: lovers of Strauss, Venice and period costumed slapstick will get their money’s worth. Oh how lovely to behold are not only the charming women in this operetta, but also Hinrich Horstkotte's costumes.

The Merry Widow, performed on a summer evening in Vienna should be an unmissable treat - and it was.

Jaquino dons the coat of the ousted Pizarro in this Volksoper production of Fidelio, clearly indicating that just as one evil head has been (literally) cut off, another is growing in its place… 

Emmerich Kálmán’s Gräfin Mariza is celebrating her 90th birthday this year, but just like my slightly younger great-aunts, who introduced me to this operetta at the tender age of five, she is far from ready for a care home. Thomas Enzinger and set/costume designer Toto have come up with another imaginative response to the question of why and how the bygone genre of operetta should be produced today.

Stephen Sondheim's gruesome masterpiece Sweeney Todd enjoys a successful and overdue première run at the Vienna Volksoper.

Since 2013 marks a Verdi anniversary, the Viennese have been treated to two new productions of Il trovatore: Philipp Stölzl’s pacey, offbeat deconstruction that will open in Berlin next week, and this Volksoper co-production with the Theater Bonn where the curtain goes down after every scene.

You may not know too much about Berlin operetta, but even when you’re not a native German, chances are high that you know Berlin’s unofficial anthem “Berliner Luft”, or “Berlin Air”. Chances are that you can also sing and dance along to waltzes and non-military marches whose choruses go “Luft, Luft, Luft” or “mop, mop, mop”.

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.

Under the headline “Why Lortzing?”, the evening’s programme lists 20 reasons by Lortzing biographer Jürgen Lodemann why this composer should not be forgotten, including the fact that Lortzing’s operas were the most-performed in Germany for about 150 years.

Die Csárdásfürstin is set at the beginning of World War I, a time of uncertainty and fear, but also one where the ruling classes of the Austro-Hungarian monarchy were partying like there was no tomorrow.

Smetana wrote Prodaná nevěsta (“The Bartered Bride”) as a light Czech folk piece in a playful reply to critics who said that his music was too Wagnerian, or too German for that matter – something not compatible with the growing Czech national consciousness in the period he composed it (1863–66), even though he only showed mild interest in the Czech cause.

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

Along with Die Fledermaus and Der Zigeunerbaron, Wiener Blut is generally considered to be Johann Strauss’s most popular operetta, although it is really a pasticcio for which Adolf Müller recycled parts of 31 popular dance pieces, artistically weaving various motifs into a new score.

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

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.

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

On Saturday, Vienna’s Volksoper will premiere a double bill with a twist: Pagliacci will not be paired with Cavalleria Rusticana, but rather Hans Werner Henze’s first opera, Das Wundertheater.

Manon, Mimi, Tosca and Cio-Cio San. Why does Puccini send these women to such heartless deaths? It’s a question which musicologist Mosco Carner answered in the 1950s with a speculative Freudian reduction (the composer apparently had a debilitating mother complex).

A ring of invisibility found in a giant fish. A voyeuristic king. A fisherman’s burning house and unfaithful wife. Alexander Zemlinsky’s Der König Kandaules is an exceptionally strange opera. Based on André Gide’s 1899 play of the same title, it is a heady mix of sex, violence, and remarkably beautiful music.

The Volksoper Wien’s first-rate production of “Die Csárdásfürstin” (“The Csárdás Princess”) offers a rare chance to waltz through one of operetta’s most tuneful hits. Emmerich Kálmán’s score, to a libretto by Béla Jenbach, is a frothy concoction of romance, hedonism, and too much time spent in nightclubs.

Lotte de Beers Inszenierung ist am Ende des Abends billiger Klamauk, schrammt aber – wenn auch knapp – an einer Katastrophe vorbei.

Lotte de Beer gibt Puccinis Oper einen neuen – feministischen – Anstrich.

Mariame Clément inszeniert mit Petticoats aus den Fünfzigern am Operettenwalzer vorbei.

Die Volksoper holt mit Luc Bondys Salome eine altbewährte Inszenierung ans Haus. Trotzdem bleibt dieses Werk spannend, gerade wenn man eine umwerfende Salome wie Astrid Kessler zur Verfügung hat.

In der Inszenierung von Nurkan Erpulat wird mit Perspektivenwechseln gespielt, nichts gecancelt, denn die Klischees werden präsentiert wie sie sind – allerdings nicht immer erfolgreich.

Gugelhupf-Tapeten und Tschinderassabumm: die Volksoper mach dem „lustig“ im Titel alle Ehre.

Eine surreal-skurrile aber gesellschaftsunkritische Uraufführung, bei der es reichlich zum Augenaufreißen und -reiben gibt.

Die neue Inszenierung am Gürtel transportiert das Publikum in einen göttlichen Wiener Olymp.

Annette Dasch und Daniel Schmutzhard lassen eine der beliebtesten Volskopernproduktionen wie eine Premiere aussehen, auch gesungen und getanzt wird auf höchstem Niveau.

Harry Kupfers Regiearbeit aus dem Jahr 1984 überzeugt ebenso wie Rebecca Nelsen als Mimì.

Lotte de Beer wagt ein Capriccio aus Peter Tschakowskys Jolanthe und dem Nussknacker. Durchweg unterhaltsam, aber nicht bahnbrechend.

Sir David McVicars Inszenierung ist ein bemerkenswertes Psychogramm, das jede Note und jede Zeile des Werks ins richtige Licht setzt. Ein Muss nicht nur für Britten-Freunde.

Das Experiment „Wiener Rosenkavalier II“ ist dank Josef Ernst Köpplingers Erfolgsinszenierung definitiv geglückt.

Der Regisseur Peter Lund setzt sich intensiv mit seinen Stücken auseinander und bietet eine weitere grandiose Inszenierung am Haus.

In Matthias Davids' Inszenierung hat Offenbachs Gute-Laune-Musik und böses Gemüse immer Saison.

Wie schon bei der Premiere 2016 bietet Renaud Doucets Inszenierung ideale Voraussetzungen für einen hochwertigen Hoffmann.

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

Markus Marquardt und Stefan Cerny imponieren in einer nüchternen Inszenierung an der Volksoper Wien.