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Performer: Marlis Petersen

Upcoming eventsSee more...

MunichDie tote StadtNew production

Jonas Kaufmann (Paul) © Wilfried Hösl
Korngold: Die tote Stadt (The Dead City)
Kirill Petrenko; Simon Stone; Bavarian State Opera; Ralph Myers; Mel Page; Jonas Kaufmann; Marlis Petersen

HamburgLondon Symphony Orchestra and Sir Simon Rattle

© Maxim Schulz
Berg, Beethoven
London Symphony Orchestra; Sir Simon Rattle; London Symphony Chorus; Marlis Petersen; Anna Stéphany; Robert Murray

MunichDie tote StadtNew production

Die tote Stadt
Korngold: Die tote Stadt (The Dead City)
Kirill Petrenko; Simon Stone; Bavarian State Opera; Ralph Myers; Mel Page; Jonas Kaufmann; Marlis Petersen

ViennaSalomeNew production

Strauss R.: Salome
Leo Hussain; Nikolaus Habjan; Theater an der Wien; Julius Semmelmann; Cedric Mpaka; Marlis Petersen; Michaela Schuster

Baden-BadenFidelio

Beethoven: Fidelio
Kirill Petrenko; Mateja Koležnik; Matthew Polenzani; Tareq Nazmi; Wolfgang Koch; Peter Rose
Latest reviewsSee more...

It was all a dream: an absorbing Die tote Stadt in Munich

Jonas Kaufmann (Paul) © Wilfried Hösl
With an unsurpassed cast, devoted conducting and a brilliantly imaginative staging, the Bavarian State Opera's new production of Korngold's Die tote Stadt is a triumph.
*****
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Kirill Petrenko's new energy proves irresistible at the Philharmonie

Kirill Petrenko conducts the Berliner Philharmoniker © Stephan Rabold
Sultry Berg and and a lithe, forceful Beethoven Nine herald an exciting new reign in Berlin.
*****
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Magical musicianship, but drab direction

Mirella Hagen (Morgana) and Rainer Trost (Oronte) © Herwig Prammer
Marlis Petersen's Alcina bloomed for a knockout “Ah! mio cor!” just in time for intermission.
***11
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A boon for Beethoven buffs in Vienna

René Jacobs © Molina Visuals
Beethoven lovers were expecting an authentic recreation of the first version of Fidelio but instead they got Leonore à la Jacobs.
***11
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A humanizing force: spellbinding Brahms

Marlis Petersen and members of the Rundfunkchor Berlin © Stephanie Berger
Performers often speak of ecstatic moments. But that ecstasy doesn't always transfer beyond the stage. This was an extraordinary effort to bridge the divide. 
*****
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