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Performer: Christian Räth

Upcoming eventsSee more...

New York CityManon

Massenet: Manon
Maurizio Benini; Laurent Pelly; Metropolitan Opera; Chantal Thomas; Lisette Oropesa; Michael Fabiano

BerlinLes Contes d'Hoffmann

Les Contes d'Hoffmann
Offenbach: Les Contes d'Hoffmann (The Tales of Hoffmann)
Daniel Carter; Laurent Pelly; Deutsche Oper Berlin; Jeremy Bines; Chantal Thomas; Tomislav Mužek


Verdi: Macbeth
Giampaolo Bisanti; Christian Räth; Vienna State Opera; Gary McCann; Plácido Domingo; Tatiana Serjan

ViennaDer Freischütz

Weber: Der Freischütz
Axel Kober; Christian Räth; Vienna State Opera; Gary McCann; Camilla Nylund; Andreas Schager
Latest reviewsSee more...

Das Wunder der Heliane makes long-awaited US debut

Aušrinė Stundytė (Heliane) © Stephanie Berger
Although Bard's production is only intermittently successful, the chance to hear this Korngold rarity live should be savored.
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Mixed Evening at Deutsche Oper Berlin's new Les Contes d'Hoffmann

Alex Esposito © Bettina Stöß
Deutsche Oper Berlin staged an ambitious production by Laurence Pelly with mixed results. The performance included new discoveries and young singers brought fresh energy to the evening.
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Räth's Macbeth enjoys a bloody première in Vienna

Tatjana Serjan (Lady Macbeth) and George Petean (Macbeth) © Wiener Staatsoper | Michael Pöhn
Bravo to the Haus am Ring for a bloody good night of music, drama and beauty – an excellent first première of the season.
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King for a Day: Verdi's second opera at Glimmerglass

Whether you call it Un giorno di regno or “King for a Day”, Giuseppe Verdi’s second opera and his first comedy is mostly unknown. That has not stopped the Glimmerglass Festival from mounting a spirited production for its 2013 season in the Alice Busch Opera Theatre on the shores of Otsego Lake in upstate New York.
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La Fille du Régiment at Covent Garden

The nationality of Gaetano Donizetti's La Fille du Régiment is as confused as that of its eponymous heroine. Written by a homesick Italian expatriate for that most Parisian of venues the Opéra-Comique, it both continued Donizetti's Italian colonisation of the Paris opera scene (much bemoaned by Berlioz) and showed him adapting his style to the conventions of French theatre.
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