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ToulouseMacbeth

Vitaliy Bilyy (Macbeth), Béatrice Uria-Monzon (Lady Macbeth) © Patrice Nin
Verdi: Macbeth
Michele Gamba; Jean-Louis Martinoty; Théâtre du Capitole; Alfonso Caiani; Bernard Arnould; Daniel Ogier; Vitaliy Bilyy

DresdenJoyce Di Donato & Il Pomo D'Oro

© Brooke Shaden
Handel, Jommelli, Leo, Monteverdi, Purcell
Maxim Emelyanychev; Il Pomo d'Oro; Joyce DiDonato; Manuel Palazzo; Ralf Pleger

MunichAus einem TotenhausNew Production

Aus einem Totenhaus
Janáček: From the House of the Dead
Simone Young; Frank Castorf; Bavarian State Opera; Aleksandar Denić; Adriana Braga Peretzki; Evgeniya Sotnikova; Manuel Günther

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

SnapeBye-Bye Beethoven

Ives, Haydn, Cage, Bach, Kurtág, Beethoven, Sanchez-Chiong
Mahler Chamber Orchestra; Patricia Kopatchinskaja; Jorge Sanchez-Chiong; Maria Ursprung; Simon Janssen

MunichAus einem TotenhausNew Production

Aus einem Totenhaus
Janáček: From the House of the Dead
Simone Young; Frank Castorf; Bavarian State Opera; Aleksandar Denić; Adriana Braga Peretzki; Evgeniya Sotnikova; Manuel Günther

LondonProm 58: The Sound of an Orchestra

Royal Philharmonic Orchestra; Joshua Weilerstein; Gerard McBurney; Mike Tutaj
Latest reviewsSee more...

On the female condition: two 20th-century operas in Turin

Anna Caterina Antonacci (Susanna) and Bruno Danjoux (Servant) © Rammella & Giannese/Piva | Teatro Regio Torino
Two different variations of the female conditions: one of 1909 and now utterly out-of-date, the second of 1959 much more ut-to-date.
****1
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Glittering Candide: a celebration at Carnegie Hall

Erin Morley (Cunegonde) © Chris Lee
Candide is a witty satiric fable, intelligent, literary but not to a fault, and vastly entertaining. Created by a team of collaborators who fell out at different times in the work’s 52 year history – at one point or another, Lillian Hellman, Richard Wilbur, John Latouche, Dorothy Parker, Stephen Sondheim and, of course, composer Leonard Bernstein had a hand in it – it is unique in the operat
*****
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Il corsaro as The life of Byron

Oksana Dyka (Gulnara) © Miguel Lorenzo and Mikel Ponce | Les Arts
Nicola Raab puts Byron at the heart of Il corsaro in her new production for the Palau de les Arts, but doesn’t always know what to do with him.
***11
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A conceptually bold Manon at Oper Köln

Insik Choi (De Brétigny) and Zuzana Marková (Manon Lescaut) © Bernd Uhlig
This production fell just short of brilliance but showed how relevant and thought-provoking opera as an art form can be when tapping into today's headline debates.
****1
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Sensational Hungarian double bill at Müpa

Viktória Vizin and Jordan Shanahan in Senza sangue © Zsófia Pályi | Müpa Budapest
In a sensational Hungarian double bill of taut psychological drama at Müpa, Péter Eötvös' Senza sangue proves a thrilling partner to Bartok’s Bluebeard’s Castle.
*****
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Fledermaus debuts at La Scala but misses some sparkle

Act 3, Die Fledermaus © Brescia/Amisano | Teatro alla Scala
The Temple of Opera has opened its doors to operetta. For the first time the Teatro alla Scala is staging Johann Strauss' Die Fledermaus.
***11
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A resurrection of a Hollywood oddity by Rattle and the LSO

Sir Simon Rattle © Mark Allan/Barbican/LSO
Sir Simon Rattle’s resurrection of a Hollywood extravaganza, the Genesis Suite, entertains at the Barbican. 
****1
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