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Instrument: Sound Design

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Driessen: Koerikoeloem
Naomi Sato; Trio Axolot; Jan Heinke; Hans van Koolwijk

AmsterdamRichters Patterns

Richters Patterns
Daniel Reuss; Corinna Belz; Ensemble Musikfabrik; Cappella Amsterdam; Ulrich Löffler

AmsterdamTrojan Women

Trojan Women
Ahn Sook Sun: Trojan Women
Ong Keng Sen; National Changgeuk Company of Korea; Myung Hee Cho; Kim Moohong; Kim Kum-mi; Yi So-yeon


Bo Koek; Tido Visser; De Warme Winkel; Bernadette Corstens; Nederlands Kamerkoor; Will-Jan Pielage; Prem Scholte Albers


Gisele Vienne; Stephen O'Malley; Dennis Cooper; Patrick Riou

PragueSternenhochWorld Première

Sternenhoch © Patrik Borecký
Acher: Sternenhoch
Petr Kofroň; Michal Dočekal; Prague National Theatre Opera; Marek Cpin; Eva Jiřikovská; Sergyi Kostov; Vanda Šípová
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Sternenhoch: Delightful depravity in Prague

Sternenhoch © Patrik Borecký
The National Theater takes a bold step forward with a smart realization of a literary grotesquerie.
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Ensemble Musikfabrik in Berlin

© Kai Bienert
An evening of frivolousness and solemnity.
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A ghost of an opera at BAM

Rod Gilfry in the loser © Richard Termine
David Lang’s new opera the loser opened the Next Wave Festival at the Brooklyn Academy of Music on Wednesday night, but simply lacked theatricality.
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Spiritually-charged Luigi Nono at Musikfest Berlin

Isabelle Faust © Peter Adamik | Berlin Festspeil
On the eve of the Musikfest Berlin, Isabelle Faust’s performance of Luigi Nono’s La lontananza nostalgica utopica futura was an extraordinary time capsule back to the work’s premiere in 1988.
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The Rest is Noise: Adams' El Niño

John Adams © Margaretta Mitchell
Southbank Centre's The Rest is Noise festival came to an end with John Adams' oratorio El Niño, composed in 2000. The London Philharmonic Orchestra suited the piece well, and this was a performance to cherish.
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A piece of infinity with Michaels Reise um die Erde at Lincoln Center Festival

Marco Blaauw (Trumpet) in Michaels Reise um die Erde as part of the Lincoln Center Festival 2013  ©  Klaus Rudolph
My preparations for a Thursday evening trip to Lincoln Center: studying the super-formula of Stockhausen’s 29-hour opera project, entitled Licht; choosing an outfit in the perfect shade of cerulean; girding myself for a panic attack similar to the one I experienced the last time I witnessed a section from Licht (Oktophonie).
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Fractured legend of Camelia la Tejana jumbles reality and fiction

Enivia Mendoza and Adam Meza  ©  Keith Ian Polakoff
In an interview I had with composer Gabriela Ortíz last week, she confided that it was The Threepenny Opera – that cynical reflection of Weimar-era Germany – that was at the forefront of her mind while composing her latest opera.
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