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Performer: Jean Kalman

Upcoming eventsSee more...

New York CityMacbeth

Verdi: Macbeth
Marco Armiliato; Adrian Noble; Metropolitan Opera; Mark Thompson; Plácido Domingo; Željko Lučić

ViennaA Midsummer Night's DreamNew production

Britten: A Midsummer Night's Dream
Simone Young; Irina Brook; Vienna State Opera; Nöelle Ginefri-Corbel; Magali Castellan; Peter Kellner; Josh Lovell

ViennaHänsel und Gretel

Humperdinck: Hänsel und Gretel
Tomáš Hanus; Adrian Noble; Vienna State Opera; Anthony Ward; Margaret Plummer; Andrea Carroll

ViennaOtello

Verdi: Otello
Mikko Franck; Adrian Noble; Vienna State Opera; Dick Bird; Stephen Gould; Krassimira Stoyanova

ViennaLa clemenza di TitoNew production

Mozart: La clemenza di Tito
Stefan Gottfried; Sam Brown; Theater an der Wien; Alex Lowde; Jeremy Ovenden; Nicole Chevalier
Latest reviewsSee more...

Mistrust, rage and colonialism: Otello at the Staatsoper

Aleksandrs Antonenko (Otello) © Wiener Staatsoper GmbH | Michael Pöhn
During the “Salce” and “Ave Maria” in Act Four Bezsmertna turned this to magical effect, thinning out and floating her shimmering soprano into gossamer threads.
***11
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Billy Budd finally drops anchor again at The Royal Opera

Jacques Imbrailo (Billy Budd) © ROH | Catherine Ashmore
After nearly two decades away from the Covent Garden stage, it was time Britten's Billy Budd came home, in a new production from Madrid by Deborah Warner. 
****1
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Beckett at La Scala: world première of Kurtág's Fin de partie

Leigh Melrose (Clov) and Frode Olsen (Hamm) © Ruth Walz | Teatro alla Scala
Never before has human impotence been so cruelly portrayed on stage.
****1
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In Amsterdam, McBurney's Die Zauberflöte continues to delight

Stanislas de Barbeyrac (Tamino) © Michel Schnater
Back for its third run at Dutch National Opera, with a satisfying cast, McBurney's staging wins new converts. 
****1
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No protests required: Deborah Warner's Fidelio returns to La Scala

Stuart Skelton (Florestan) and Ricarda Merbeth (Leonore) © Brescia & Amisano | Teatro alla Scala
Chung's mastery of orchestral colour and texture came into its own, the brooding introduction to Act 2 making for a harrowingly apocalyptic representation of tyranny.
****1
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