Musique classique, opéra, ballet et danse en Bayreuth, Allemagne

Manchmal bedurfte es eines Sich-Einfindens, letztlich überzeugten Ensemble und Regie aber in bewährter wie einnehmend gekonnter Weise.

Despite its enigmatic details, Bayreuth's Parsifal reaches a cathartic climax. 

Yuval Sharon's production returns to Bayreuth in a musically compelling performance. 

Kosky’s production manages to maintain all hallmarks of a 16th-century fairy tale, while juxtaposing them with questions of deep human, political and artistic problems. Regietheater at its best.

Yesterday, the Bayreuth Festspielhaus, where devotees of Richard Wagner converge annually from all over the world, opened its doors again for this year’s festival. Traditionally presented on the first evening, the new production for this season was Tannhäuser und der Sängerkrieg auf Wartburg (to use the opera’s full name), presented to a capacity audience.

The label “most opera directors” does *not* apply to Barrie Kosky, who makes his Bayreuth debut with a Meistersinger that pulls no punches.