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Performer: Zurich Opera

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ZürichDer Freischütz

Der Freischütz
Weber: Der Freischütz
Nikolaus Harnoncourt; Ruth Berghaus; Zurich Opera; Hartmut Meyer; Marie-Luise Strandt; Jürgen Hoffmann; Inga Nielsen

ZürichPelléas et Mélisande

© Toni Suter & Tanja Dorendorf
Debussy: Pelléas et Mélisande
Alain Altinoglu; Dmitri Tcherniakov; Zurich Opera; Gleb Filshtinsky; Corinne Winters; Jacques Imbrailo
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Die Csárdásfürstin in Zürich: acerbic wit and winning music

Annette Dasch (Sylva) © Toni Suter
Kálmán's operetta brilliantly updated to the super-rich of today, with starry singing from Annette Dasch and Pavol Breslik.
****1
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Technology to the rescue in Zurich's new staging of Boris Godunov

Michael Volle (Boris Godunov) and Spencer Lang (Holy Fool) © Monika Rittershaus

The Zurich Opernhaus tackles the pandemic with an innovative strategy: instead of reducing the size of orchestra and chorus (as many other European opera houses) it removes them from the theatre altogether. 

Juan Diego Flórez successfully debuts as Rodolfo in Zurich's Bohème

Juan Diego Flórez (Rodolfo) and Ruzan Mantashyan (Mimì) © Toni Suter
In a reprise of Ole Anders Tandberg’s somewhat confused production, a solid cast performs a charming bohème, under the baton of Marco Armiliato.
***11
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Astrid Kessler nails the title role in Arabella in Zurich

Julia Kleiter (Arabella), Aleksandra Kubas-Kruk (The Fiakermilli) and chorus © Toni Suter
Using the Nazi regime as his Leitmotif, Canadian director Robert Carsen brings Richard Strauss’ Arabella to the Zurich stage. 
***11
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Iphigénie en Tauride in Zurich: a bright success in a black grave

Cecilia Bartoli (Iphigénie) © Monika Rittershaus
Cecilia Bartoli leads a great cast in Gluck’s masterpiece, presented in Zurich in a new insightful production by Andreas Homoki.
*****
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Fidelio in Zurich: singing fine, but staging, “Nein!”

Anja Kampe (Leonore) and Andreas Schager (Florestan) © Herwig Prammer

In its revival here in Zurich, the soloists and choir of Beethoven's Fidelio give stellar vocal performances. But having done away with any real set, the opera was not without its shortcomings.

**111
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