Instrument: Bass-baritone

Faust and Méphistophélès pal around like buddies in Castorf's multi-media staging, the devil here less diabolical and more anarchistic party-boy. 

“Who's dead, you or the old man?” asks Leporello after Don Giovanni’s duel with the Commendatore. What if the answer was that they had both received fatal wounds?

“How Excellent.”  The first words sung in Handel’s Saul are in praise of God and were first uttered in a performance nearly three centuries ago. But they apply equally to Claus Guth’s interpretation of the work staged by Theater an der Wien.

 Russian director Kirill Serebrennikov relives his own arrest in 2017 in his new production of Wagner's Bühnenweihfestspiel at the Wiener Staatsoper.

General and Artistic Director Tomer Zvulun unleashes an unending flow of creativity and originality in The Threepenny Carmen. 

As theatre, Isabelle Kettle's staging of Kurt Weill's Seven Deadly Sins is timelessly harrowing and bang up to date.