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Performer: Jens Larsen

Upcoming eventsSee more...

MunichWozzeck

Wozzeck
Berg: Wozzeck
Hartmut Haenchen; Andreas Kriegenburg; Bavarian State Opera; Harald Thor; Andrea Schraad; Christian Gerhaher; Gun-Brit Barkmin

HamburgMy Fair Lady: New Year's Concert

© Maxim Schulz
Loewe: My Fair Lady
NDR Elbphilharmonie Orchester; Alan Gilbert; NDR Chor; Michael Maertens; Sarah Maria Sun; Jens Larsen

BerlinDie BassaridenNew production

Günter Papendell (Pentheus) and Sean Panikkar (Dionysus) © Monika Rittershaus
Henze: The Bassarids
Vladimir Jurowski; Barrie Kosky; Komische Oper Berlin; Katrin Lea Tag; Tanja Ariane Baumgartner; Margarita Nekrasova
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Nocturnal orgies versus controlled reason

Günter Papendell (Pentheus) and Sean Panikkar (Dionysus) © Monika Rittershaus
Sophisticated interpretation of The Bassarids by Hans Werner Henze at the Komische Oper Berlin
*****
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Remarkable Die Frau ohne Schatten marred by visual effects

Vladimir Jurowski conducts Die Frau ohne Schatten in Bucharest © Andrada Pavel
At the Enescu Festival n Bucharest Vladimir Jurowski celebrates the centennial of Die Frau one Schatten’s premiere.
****1
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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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Pelléas et Mélisande: Kosky's sleep-talking, nightmare

Pelléas et Mélisande © Monika Rittershaus
There’s no doubt that Mélisande endeavours to escape past troubles when she first appears in Barrie Kosky’s production of Debussy’s opera, yet Nadja Mchantaf is no reticent, wispy maiden. Every vocal and physical gesture – always precise and penetrating – displays an atypically forthright quest for vitality, something that Arkel’s chauvinistic world does not readily offer.
*****
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Penetrating Schreker’s kaleidoscopic score

Die Gezeichneten © Iko Freese | drama-berlin.de
Franz Schreker’s Die Gezeichneten (The Branded One) is an unsettling work given the storyline’s background of abduction and clandestine sexual abuse. Calixto Bieito, as expected, eschews ambiguity regarding what goes on behind the scenes, and casts even the titular cripple Alviano Salvago in a damning light.
****1
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