Performer: Axel Kober

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GrafeneggDie tote Stadt (The Dead City)Concert performance

Grafenegg Kulturbetriebsgesellschaft m.b.H.

Wolkenturm, Sun 30 Aug at 19:15

Korngold: Die tote Stadt (The Dead City)

Axel Kober; Tonkünstler-Orchester; Eric Cutler; Camilla Nylund; Samuel Hasselhorn

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Burggarten, Sun 6 Sep at 19:30

Rossini, Wagner, Bizet, Giordano, Verdi, Bellini, Puccini, Tchaikovsky, Donizetti

Orchestra of the Vienna State Opera; Axel Kober; Asmik Grigorian; Piotr Beczała; Juan Diego Flórez; Ludovic Tézier

Wiener Staatsoper, Dec 12, 15, 18

Mozart: Die Zauberflöte (The Magic Flute)

Axel Kober; Barbora Horáková; Vienna State Opera; Falko Herold; Eva Butzkies; Stefan Bolliger; Orchestra of the Vienna State Opera

Staatsoper Unter den Linden, 2027 Jan 10, 14, 17, 23, 26, 29

Strauss R.: Salome

Axel Kober; Hans Neuenfels; Staatsoper Berlin; Reinhard von der Thannen; Stefan Bolliger; Staatskapelle Berlin

Wiener Staatsoper, 2027 May 06, 09, 12, 16

Wagner: Die Meistersinger von Nürnberg

Axel Kober; Keith Warner; Vienna State Opera; Boris Kudlička; Kaspar Glarner; John Bishop; Orchestra of the Vienna State Opera

Wiener Staatsoper, 2027 May 08, 11, 14, 19

Mozart: Die Zauberflöte (The Magic Flute)

Axel Kober; Barbora Horáková; Vienna State Opera; Falko Herold; Eva Butzkies; Stefan Bolliger; Orchestra of the Vienna State Opera

Latest reviewsSee more...

Reality wants augmenting in Daniel Kramer's Die tote Stadt

Nadja Stefanoff (Marietta), Corby Welch (Paul) and ensemble © Sandra Then

Eleanor Knight, 16 Apr

What's a director to do while we wait for technology to catch up with the complexities of the human condition?

***11

Mahler, live: Martin Schläpfer takes the helm in Vienna

Jenifer Sarver, 04 Dec

Considering the very abrupt transition to dance-on-film that most companies are contending with today, Mahler, live chooses to examine the beginnings of this genre.

***11

Between two worlds: Wozzeck in Düsseldorf

Matthew Rye, 20 Oct

Stefan Herheim's eagerly awaited production of Berg's Wozzeck distances us from the emotional heart of the tragedy by portraying the story as a hallucinatory death-room experience.

****1