Il trovatore is, perhaps more than any other Verdi opera, a work of extremes: structurally fragmented, dramatically implausible at times, yet propelled by an almost unmatched musical urgency. It lives…
RIGOLETTO | Bayerische Staatsoper
New Rigoletto at the Bayerische Staatsoper. Should we go? And if so, why? For the story? Not really, as it belongs to that category of operas whose libretto reveals all…
ONEGIN | Bayerische Staatsoper
Created in 1965 by John Cranko and part of the repertoire of the Bayerisches Staatsballett since 1972, Onegin remains one of the most enduring narrative ballets of the 20th century….
FIDELIO | Bayerische Staatsoper
What a magnificent production of Fidelio by Calixto Bieito. A director whose work can sometimes feel conceptually overbearing here finds an almost perfect balance between strong imagery and dramatic clarity….
HOSOKAWA · BEETHOVEN · BRAHMS | Münchner Philharmoniker
A Symphonic Narrative, Built from the Inside OutSome concerts tell stories without words, and this evening was one of them. Toshio Hosokawa’s Blossoming II opened the programme with the quietude…
FAUST | Bayerische Staatsoper
A new production of Faust at the Bayerische Staatsoper, staged by Lotte de Beer, offers a reading that is clear, intelligent, and theatrically fluid, without resorting to heavy-handed concepts. The…
LA SYLPHIDE | Bayerische Staatsoper
What makes La Sylphide especially meaningful for opera lovers is how recognisable its emotional grammar is. You don’t need to be deeply versed in ballet technique to feel at home: the storytelling…
LUISA MILLER | Wiener Staatsoper
There are evenings when Verdi’s Luisa Miller feels less like a prelude to the later tragedies and more like a fully mature, self‑contained world — one where intimacy and power collide, and…
DIE VERKAUFTE BRAUT | Bayerische Staatsoper
The lightness of an opera sometimes becomes its greatest strength — evenings where the joy onstage mirrors the joy in the room, and where a packed audience full of young…