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Performer: Konstantin Shushakov

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ZürichIl barbiere di Siviglia

© Herwig Prammer
Rossini: Il barbiere di Siviglia
George Petrou; Johannes Pölzgutter; Zurich Opera; Aigul Akhmetshina; Alasdair Kent; Konstantin Shushakov; Dean Murphy

ZürichEin deutsches Requiem

© Tony Hitchcock
Brahms: Ein Deutsches Requiem - A German Requiem, Op.45
Philharmonia Zürich; Ernst Raffelsberger; Rachel Harnisch; Konstantin Shushakov; Zusatzchor der Oper Zürich; Zurich Opera Chorus

ZürichDon Pasquale

© Monika Rittershaus
Donizetti: Don Pasquale
Sesto Quatrini; Christof Loy; Zurich Opera; Johannes Leiacker; Barbara Drosihn; Pietro Spagnoli; Aleksandra Kubas-Kruk
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Technology to the rescue in Zurich's new staging of Boris Godunov

Michael Volle (Boris Godunov) and Spencer Lang (Holy Fool) © Monika Rittershaus

The Zurich Opernhaus tackles the pandemic with an innovative strategy: instead of reducing the size of orchestra and chorus (as many other European opera houses) it removes them from the theatre altogether. 

Staging, spectacle, singing: three-card trick at Savonlinna

Misha Didyk (Hermann) © Valtteri Hirvonen
This was more stadium rock than stuffy opera house, lighting as ‘metaphor made real’ as the lovers were – literally – star-struck, blinded by love.
****1
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Mieczysław Weinberg's The Idiot at the Bolshoi Theatre

Bogdan Volkov (Prince Myshkin), Pyotr Migunov (Rogozhin) © Damir Yusupov
Completed in 1985 and premièred in Mannheim in 2013, Mieczysław Weinberg's The Idiot is a true rarity. Seeing it revived for the first time, it's thrilling to see the opera given the vocal and musical treatment it desrves, lending a helping hand to its return from oblivion.
****1
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Black gold: Rimsky-Korsakov in Brussels

Pavlo Hunka (Tsar Dodon) and Sarah Demarthe (Cockerel) © Matthias Baus | La Monnaie
Laurent Pelly exploits the satirical side of Rimsky-Korsakov's The Golden Cockerel at La Monnaie in a darkly humorous but colourfully performed production.
****1
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Too many greys in Geneva's Falstaff

A huge revolving grey monolith centre stage dominated a grey floor, grey props and men in grey costumes, all detracting from the gaiety Verdi envisaged as the essence of Falstaff.
***11
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A chic Così fan tutte at La Scala

Guth's production is beautiful to look at, but fails to bring out the best in Mozart's drama.
***11
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