Performer: Yvonne Gebauer

SevilleBodas de sangreNew production

Teatro de la Maestranza: Sala principal, 2027 May 06, 08

Busto: Bodas de sangre

Lucas Macías Navarro; Bárbara Lluch; Teatro de la Maestranza; Urs Schönebaum; Clara Peluffo Valentini; Real Orquesta Sinfónica de Sevilla

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Theater an der Wien, 2027 Apr 09, 11, 14, 16, 18, 21, 23, 25

Handel: Rinaldo

Francesco Corti; Nadja Loschky; MusikTheater an der Wien; Katharina Schlipf; Irina Spreckelmeyer; Karl Wiedemann; Akademie für Alte Musik Berlin

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Semele at Dutch National Opera: myth, desire and fantasy

Mengguang Huang, 23 Jan

Guth’s Semele turns myth into a contemporary domestic drama, where desire becomes obsession and illusion consumes reality. Handel’s music remains the true engine, driven by a thrilling, physically intense ensemble.

****1

George Gagnidze (Schaklovity) and Mika Kares (Prince Ivan Khovansky) © Monika Rittershaus

Elena Luporini, 02 Jun

With Claus Guth directing and Simone Young on the podium, the Staatsoper Unter den Linden's new production of Mussorgsky's Khovanshchina proves that the past isn't really past.

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Ludovic Tézier (Posa) and Elīna Garanča (Eboli) © Luciano Romano

Mark Pullinger, 29 Nov

A delayed season opening at the Teatro di San Carlo, but a night of epic grand opera as Claus Guth and Juraj Valčuha deliver a weighty Don Carlo.

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Suor Angelica: Karita Mattila (La Zia Principessa) and Asmik Grigorian (Suor Angelica) © SF | Monika Rittershaus

Isabella Steppan, 21 Aug

Asmik Grigorian is captivating in an unobtrusive production of Puccini's three one-act operas. Under Franz Welser-Möst, the Vienna Philharmonic is on top form.

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Czernowin's Heart Chamber stirs passions at Deutsche Oper Berlin

Liam Cagney, 06 Dec

Heart Chamber explores how small outer events often correspond to tectonic inner changes.

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Johanni van Oostrum (Elizabeth) und Vera-Lotte Boecker (Mary) © Monika Rittershaus

Michael Vieth, 14 May

Mit ausschließlich historischen Dokumenten in alter, poetischer Sprache macht Brett Dean die historische Geschichte um Maria Stuart zur Psycho-Tragödie in Renaissance- wie Gegenwarts-Klang. Eine gelungene Uraufführung an der Bayerischen Staatsoper.

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