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Performer: Matthias Klink

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ChicagoDas RheingoldNew production

Wagner: Das Rheingold
Sir Andrew Davis; David Pountney; Lyric Opera of Chicago; Johan Engels; Marie-Jeanne Lecca; Eric Owens; TBC

ChicagoSiegfriedNew production

Wagner: Siegfried
Sir Andrew Davis; David Pountney; Lyric Opera of Chicago; Johan Engels; Marie-Jeanne Lecca; Burkhard Fritz; Matthias Klink

StuttgartDer Freischütz

Weber: Der Freischütz
Thomas Guggeis; Achim Freyer; Oper Stuttgart; Laura Wilde; Josefin Feiler

StuttgartBorisNew production

Mussorgsky, Newski
Titus Engel; Paul-Georg Dittrich; Oper Stuttgart; Jana Findeklee; Lena Schmid; Adam Palka; Elmar Gilbertsson

StuttgartSchuberts WinterreiseNew production

Zender: Schubert's Winterreise - Eine komponierte Interpretation
Stefan Schreiber; Aernout Mik; Oper Stuttgart; Matthias Klink; Julia Schmitt; Barbara Eckle; Staatsorchester Stuttgart
Latest reviewsSee more...

Between two worlds: Wozzeck in Düsseldorf

Cornel Frey (Andres) and Bo Skovhus (Wozzeck) © Karl Forster
Stefan Herheim's eagerly awaited production of Berg's Wozzeck distances us from the emotional heart of the tragedy by portraying the story as a hallucinatory death-room experience.
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From femme fatale to angel: Lulu in Hamburg

Barbara Hannigan (Lulu), Sylvana Seddig and Begoña Quiñones © Monika Rittershaus
An uncompromising approach to the unfinished score of Berg's opera results in a compelling musical and dramatic interpretation.
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Modern terror: Salome in Stuttgart

Director Kirill Serebrennikov gives us a frightening new reality of the modern world beset by war and terrorism in his reimagining of Strauss's Salome
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Sin City meets silent film: Cardillac

Cardillac has a spooky, sinister fascination that both intrigues and horrifies and which is quite successfully expressed in this striking production by Sven-Eric Bechtolf.
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The Bartered Bride at the Volksoper doesn't make for a great deal

Smetana wrote Prodaná nevěsta (“The Bartered Bride”) as a light Czech folk piece in a playful reply to critics who said that his music was too Wagnerian, or too German for that matter – something not compatible with the growing Czech national consciousness in the period he composed it (1863–66), even though he only showed mild interest in the Czech cause.
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