Notre politique de confidentialité a été mise à jour pour la dernière fois le vendredi 31 janvier 2020Voir iciIgnorer
Se connecter
Bachtrack logo

Artiste: Marius Roth Christensen

Spectacles à venirEn voir plus...

OsloEugene Onegin

Svetlana Aksenova (Tatyana) and Audun Iversen (Onegin) © Erik Berg
Tchaïkovski: Eugène Onéguine
Lothar Koenigs; Christof Loy; Norwegian National Opera; Raimund Orfeo Voigt; Herbert Murauer; Audun Iversen; Svetlana Aksenova


Bizet: Carmen
Ariane Matiakh; Calixto Bieito; Norwegian National Opera; Alfons Flores; Mercè Paloma; Ingeborg Gillebo; Alessandra Volpe
Critiques récentesEn voir plus...

Alone and in love: Christoph Loy’s compelling new Onegin in Oslo

Svetlana Aksenova (Tatyana) and Audun Iversen (Onegin) © Erik Berg
Chrisoph Loy's new Oslo production of Eugene Onegin only somewhat succeeds in its desire to create a meditation on loneliness, but superb musical performances still make it an utterly compelling piece of music theatre.

Question mark: Turandot in Oslo

Turandot in Oslo © Erik Berg
Andreas Homoki's 2004 Turandot makes its way to Oslo, but fails to impress with less-than-halfbaked concepts and underwhelming singing.

Don Giovanni: Sequined gowns and neon crucifixes

Theodor Strassberger's Oslo production of Mozart's Don Giovanni offers a fresh, mostly well-sung take on an old classic.

The end of the world. Or something: Ligeti's Le grand macabre at the Norwegian National Opera

The world ended yesterday. Possibly. It probably didn’t, but the facts are still kind of fuzzy.György Ligeti’s only opera, Le grand macabre is a strange piece. The story is straightforward enough: Nekrotzar, a Death-like figure, travels around the world of Breughelland warning its citizens of impending doom – a giant comet will destroy Earth at midnight.

Easter in Italy: Cavalleria Rusticana and Pagliacci at the Norwegian National Opera

Nothing says “Happy Easter” like a bit of alcohol-fuelled murder on the church steps, right? With their new double bill of Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci, the Norwegian National Opera certainly seems to think so!The two productions were done on practically the same sets, albeit with a few differences, which did create a rather wonderful sense of continuity from the fir