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Performer: Josef Wagner

Upcoming eventsSee more...

ZürichArabellaNew production

Arabella
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

StuttgartSalome

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

EdinburghGötterdämmerung

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.
***11
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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.
***11
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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”.
****1
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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.
****1
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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.
*****
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