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Strongly cast Guillaume Tell hits its mark at Theater an der Wien
Osborn absolutely lives the part; he negotiated formidable heights, intricate passage work and the sheer volume of notes with style and clarity as well as colour and nuance.
Dresden's Daphne relocated into Nazi Germany
Torsten Fischer's Nazified production of Strauss' Daphne in the Semperoper Dresden may leave you confused, but it receives a solid performance.
Gluck's Iphigénie en Aulide at the Theater an der Wien
Institutional violence has been a running theme in Torsten Fischer’s series of Gluck operas at the Theater an der Wien, albeit with a lid kept firmly on the idea of actual conflict.
Telemaco’s Desert Island Disc
With two happy endings, two recognition scenes, and a second act that seems more of a self-contained sequel than a conclusion to the first, Gluck’s Telemaco has come in for a musicological pasting over the years for its alleged weaknesses of dramatic content and construction.
Ein neu entdeckter Klassiker: Die Zauberflöte im Theater an der Wien
Keine Folklore, kein Kitsch, dafür political correctness: Torsten Fischers Inszenierung bürstet die Klischees der Zauberflöte gegen den Strich und landet trotzdem einen Überraschungserfolg.
Verführung bei den Royals: Salieris Falstaff unterhält mit Lust, Intrigen und Eifersucht
Torsten Fischers Inszenierung am Theater an der Wien ist erwartungsgemäß einen Besuch wert.