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MunichLucrezia Borgia
Donizetti: Lucrezia Borgia
Antonino Fogliani; Christof Loy; Bavarian State Opera; Henrik Ahr; Barbara Drosihn; Joachim Klein; Bayerisches Staatsorchester
DresdenCarmenNew production
Bizet: Carmen
Lorenzo Passerini; Nadja Loschky; Semperoper Dresden; Étienne Pluss; Irina Spreckelmeyer; Fabio Antoci; Staatskapelle Dresden
ViennaAnimal Farm
Raskatov: Animal Farm
Alexander Soddy; Damiano Michieletto; Vienna State Opera; Paolo Fantin; Klaus Bruns; Alessandro Carletti; Orchestra of the Vienna State Opera
LeipzigGiulio Cesare in Egitto (Julius Caesar in Egypt)
Handel: Giulio Cesare in Egitto, (Julius Caesar in Egypt) HWV 17
Rubén Dubrovsky; Damiano Michieletto; Oper Leipzig; Paolo Fantin; Agostino Cavalca; Alessandro Carletti; Leipzig Gewandhaus Orchestra
ViennaRinaldoNew production
Handel: Rinaldo
Francesco Corti; Nadja Loschky; MusikTheater an der Wien; Katharina Schlipf; Irina Spreckelmeyer; Karl Wiedemann; Akademie für Alte Musik Berlin
Latest reviewsSee more...
Everything leads back to square one in new Orfeo ed Euridice
A coherent, modern version of the Orpheus myth from the Italian director at the Komische Oper Berlin.
Spoiler alert: Juliet doesn’t die in Zurich I Capuleti e i Montecchi
The Opernhaus Zürich revives Christof Loy’s production with a new young cast under the baton of Fabio Biondi.
Don't divas always die? Zazà at Theater an der Wien
Leoncavallo's opera is a rare example of a tragic, verismo opera where not a soul dies... neither by natural causes nor foul play.
Peter Grimes a must-see in Vienna
Though certainly not the most heartwarming of tales this Christmas season, this is a production one shouldn’t miss.
Verdi's Falstaff given a playful make-over
After his final opera, Falstaff (1893), Verdi founded a home for retired musicians. Director Christof Loy related these two achievements by setting the opera in the nursing home...
Gluck's Alceste at the Vienna Staatsoper: Chronicle of a death foretold
Alceste is the short and sombre story of a wife who gives her life to save that of her husband, King Admète of Thessaly, a deed which ultimately convinces the gods to reprieve both of them. Gluck, hoping to avoid the over-decorated vocal style then in vogue, set this plot to unadorned vocal lines to give depth to the underlying emotions.