En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Hans Neuenfels

Eine solide Vorstellung von Puccinis Oper, ganz ohne Taschentuchalarm, aber mit sehr guten Einzelleistungen. 

Diese Vorstellungsserie ist dem Andenken des Regisseurs dieser Produktion, Hans Neuenfels (1941-2022) gewidmet.

Actors double up with singers in Hans Neuenfels' innovative production of Die Entführung aus dem Serail in Vienna. 

The Staatsoper revives a confused production by Hans Neuenfels, under the baton of Thomas Guggeis.

Mariss Jansons and the Vienna Philharmonic do the real storytelling as Hans Neuenfels' staging underwhelms.

In a dated production by Hans Neuenfels, conductor Giacomo Sagripanti leads a musically successful Trovatore, where Angela Meade and Anita Rachvelishvili show their vocal brilliance.

Hans Neuenfels new Salome proves a strangely non-committal affair at the Staatsoper, but Thomas Guggeis conducts impressively.

In the hands of director Hans Neuenfels, the Swiss première of Manfred Trojahn’s Orest was widely anticipated for its “splashes of gore and commensurate splatters of sound”.

Die Uraufführung von Miroslav Srnkas Doppeloper South Pole bleibt trotz größtem Staraufgebot hinter den medial so breitflächig geschürten Erwartungen zurück, wird aber vom Publikum gefeiert.

Hans Neuenfels' setting of Lohengrin as scientific experiment with a chorus of rats affords thought-provoking pleasures, with star turns from Klaus Florian Vogt in the title role and Petra Lang as Ortrud.

Neuenfels' production of Manon Lescaut for the Bayerische Staatsoper is strange but coherent. With a perfect cast and tight musical direction, this is about as good as Puccini opera gets.

Klaus Florian Vogt's astounding portrayal of the swan knight continues to evolve and deepen in the once infamous "Rat" Lohengrin in Bayreuth in a evening of sheer brilliance and near perfection.

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.