Our privacy policy was last updated on Monday 24 June 2019View it hereDismiss
Bachtrack logo
What's on

Performer: Josef Wagner

Upcoming eventsSee more...

ZürichArabellaNew production

Strauss R.: Arabella
Fabio Luisi; Robert Carsen; Zurich Opera; Ann-Katrin Stöcker; Gideon Davey; Julia Kleiter

AmsterdamDie Frau ohne SchattenNew production

Die Frau ohne Schatten
Strauss R.: Die Frau ohne Schatten
Marc Albrecht; Katie Mitchell; Dutch National Opera; Naomi Dawson; AJ Glueckert; Elza van den Heever


Strauss R.: Salome
Roland Kluttig; Kirill Serebrennikov; Oper Stuttgart; Pierre Jorge Gonzalez; Simone Schneider; Maria Riccarda Wesseling


Wagner: Götterdämmerung
Sir Andrew Davis; Christine Goerke; Burkhard Fritz; Josef Wagner; Amber Wagner
Latest reviewsSee more...

Blissful soprano singing: Ariadne in Aix

Rupert Charlesworth (Dancing Master), Sabine Devieilhe (Zerbinetta) and troupe © Pascal Victor / Artcompress
Lise Davidsen and Sabine Devieilhe produce soprano heaven in their contrasting vocal styles. Katie Mitchell’s staging feels disappointingly familiar.
Read more

Ceaseless fire in Spontini's Olympie at the Concertgebouw

Karina Gauvin © Michael Slobodian
Jérémie Rhorer led a turbocharged performance of this rare Spontini opera, which, although it tires with its grandiose hyperbole, contains excerpts that deserve to be heard more often.
Read more

Death, Devil and naked facts in the Volksoper's Hoffman

Beate Ritter (Olympia), Mirko Roschkowski (Hoffmann) © Barbara Pálffy | Volksoper Wien
Hoffmann goes Steampunk: Renaud Doucet’s staging for the Volksoper is the exception to the sensible rule that “less is more”.
Read more

Royal Swedish Opera: Salome

The Royal Swedish Opera's Salome, directed by operatic first-timer Sofia Jupither, is dramatic, and its strong directorial concept does not get in the way of the story. Nina Stemme sings astoundingly, and gives a nuanced portrayal of the title character.
Read more

El teatro y su doble: Capriccio en el Real

© Javier del Real | Teatro Real
Esta Capriccio es moderna porque se mantiene escrupulosamente fiel a los códigos de los salones intelectuales del siglo XVIII. Y también es realista porque detecta con irreverente precisión y astuta elegancia el interrogante filosófico que atraviesa el testamento operístico straussiano y la época en que se inscribe.
Read more