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Performer: Anna Smirnova

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ZürichNabuccoNew production

Anna Smirnova (Abigaille) and Michael Volle (Nabucco) © Monika Rittershaus
Verdi: Nabucco
Fabio Luisi; Andreas Homoki; Zurich Opera; Wolfgang Gussmann; Susana Mendoza; Michael Volle; Anna Smirnova

GenevaAida

Verdi: Aida
Antonino Fogliani; Phelim McDermott; Grand Théâtre de Genève; Tom Pye; Kevin Pollard; Marina Prudenskaya; Anna Smirnova

BerlinAida

Aida
Verdi: Aida
Giampaolo Bisanti; Benedikt von Peter; Deutsche Oper Berlin; Katrin Wittig; Lene Schwind; Anna Smirnova; Stefano La Colla

ZürichLohengrin

Lohengrin
Wagner: Lohengrin
Simone Young; Andreas Homoki; Zurich Opera; Wolfgang Gussmann; Susana Mendoza; Kwangchul Youn; Piotr Beczała

DresdenNabucco

Verdi: Nabucco
Omer Meir Wellber; David Bösch; Dresden State Opera; Pietro Rizzo; TBC; Patrick Bannwart; Meentje Nielsen
Latest reviewsSee more...

A new Nabucco on the block in Zurich

Anna Smirnova (Abigaille) and Michael Volle (Nabucco) © Monika Rittershaus
Andreas Homoki’s new Zurich production capitalises on some quirky staging, but features superb voices in its principal roles and shows the best of the house’s joint choirs.
***11
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Muddled symbolism: Verdi's Nabucco at Deutsche Oper Berlin

Nabucco © Bernd Uhlig
January of 2017 sees the return of Verdi's Nabucco at the Deutsche Oper Berlin. This Keith Warner production of a Verdi favorite was successfully premiered by the Deutsche Oper in 2013, in the 200th anniversary year of Verdi's birth.
**111
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Munich Don Carlo in fifty shades of black

Anja Harteros (Elisabetta) and René Pape (Philip II) © Wilfried Hösl (2012)
Better conducting and supertitles would also help breathe life into this drab revival of Bayerische Staatsoper's Don Carlo.
**111
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Stunningly sung implausibilities: Il trovatore in Munich

Nothing will make the plot of Il trovatore less ridiculous. But a director who embraces that ridiculousness, plus stellar playing and singing, make for a great show.
****1
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Teatro di San Carlo: Aida

Cirque du Soleil producer Franco Dragone's new Aida for the Teatro di San Carlo in Naples aimed to scrub off all the bombast from this triumphalistic work. The eccentricities of the production led to a poor-quality outcome, though there was some fine singing.
***11
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