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Performer: Constantin Trinks

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ToulouseConstantin Trinks / Thibaut Garcia

Orchestre National du Capitole de Toulouse
Strauss R., Rodrigo, Beethoven
Orchestre National du Capitole de Toulouse; Constantin Trinks; Thibaut Garcia

ViennaDie Entführung aus dem Serail

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Mozart: Die Entführung aus dem Serail (The Abduction from the Harem)
Constantin Trinks; Hans Neuenfels; Vienna State Opera; Christian Schmidt; Bettina Merz; Stefan Bolliger; Orchestra of the Vienna State Opera

LyonSaloméNew production

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Strauss R.: Salome
Constantin Trinks; Calixto Bieito; Opéra de Lyon; Anna-Sofia Kirsch; Paula Klein; Michael Bauer; Orchestre de l'Opéra de Lyon

ViennaArabella

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Strauss R.: Arabella
Constantin Trinks; Sven-Eric Bechtolf; Vienna State Opera; Rolf Glittenberg; Marianne Glittenberg; Orchestra of the Vienna State Opera; Concert Association Vienna State Opera Chorus
Latest reviewsSee more...

Bal Impérial & Boléro: multi-layered work challenges in Geneva

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The premiere of Bal Impérial by Sidi Larbi Cherkaoui challenges and interrogates to great effect in Geneva. 
****1
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Strong cast brings fizz to Glyndebourne's Zauberflöte revival

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A visually delightful revival of Barbe & Doucet's action-packed Zauberflöte at Glyndebourne, with strong vocal performances throughout. 
****1
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More dramma than giocoso: Don Giovanni at Covent Garden

Unimpeachable voices and fine playing light up The Royal Opera's latest revival of Kasper Holten's dark staging.
****1
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A psychological drama: Weber's Euryanthe in Vienna

Vienna's Theater an der Wien stage a seldom performed opera by Carl Maria von Weber with an excellent cast, orchestra, and chorus.  
****1
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Hagen: Part 1 of a “Second Generation” Ring at the Theater an der Wien

Hagen, the first chapter in the Theater an der Wien's reimagining of The Ring, features music from Das Rhinegold and Götterdämmerung woven seamlessly together, telling the story from the perspective of Hagen, son of Nibelung dwarf, Alberich.
***11
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Trinks’ cut and paste Siegfried far from idyllic

Tatjana Gürbaca’s whole scale tampering with Wagner’s Siegfried had so many flashbacks and flashforwards there should have been a warning for photosensitive members of the audience.  
**111
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