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Performer: Henrik Ahr

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ZürichI puritani

© Judith Schlosser
Bellini: I puritani
Daniele Squeo; Andreas Homoki; Zurich Opera; Henrik Ahr; Barbara Drosihn; Irina Lungu; Lawrence Brownlee

GenevaParsifal

Grand Théâtre Genève
Wagner: Parsifal
Jonathan Nott; Michael Thalheimer; Grand Théâtre de Genève; Henrik Ahr; Michaela Barth; Josef Wagner; Tómas Tómasson
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Fidelio in Zurich: singing fine, but staging, “Nein!”

Anja Kampe (Leonore) and Andreas Schager (Florestan) © Herwig Prammer

In its revival here in Zurich, the soloists and choir of Beethoven's Fidelio give stellar vocal performances. But having done away with any real set, the opera was not without its shortcomings.

**111
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“What a commotion!” A slapstick Finta giardiniera in Zurich

La finta giardiniera © Herwig Prammer
Zurich Opera stages Tatjana Gürbaca’s production of Mozart’s La finta giardiniera. True to the opera buffa genre, it teems with silliness.
**111
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Quirky staging, superb singing: Ligeti’s Le Grand Macabre in Zurich

Jens Larsen (Astradamors) and Leigh Melrose (Nekrotzar) © Herwig Prammer
Ligeti's “anti-anti opera” opens in Zurich in a new production by Tatjana Gürbaca. 
****1
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Hagen: Part 1 of a “Second Generation” Ring at the Theater an der Wien

Samuel Youn (Hagen) and Martin Winkler (Alberich) © Herwig Prammer
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

Marcel Beekman (Mime) and Daniel Brenna (Siegfried) © Herwig Prammer
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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A colourless Fidelio in Zurich

Brandon Jovanovich (Florestan), Anja Kampe (Leonore) and Christof Fischesser (Rocco) © Toni Suter (2013)
Celebrating a courageous woman who is able to secure the release of her husband from prison, Beethoven’s sole opera Fidelio has music that is more compelling that its plot.
***11
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