“Töt erst sein Weib!” shrieks Anja Kampe as Leonore during the very first moments of Andreas Homoki’s ingenious production of Beethoven’s only opera, Fidelio, at Opernhaus Zürich. Read more »
In his first appearance on the stage of Paris’ Palais Garnier, Roberto Alagna, as the newly knighted Rodrigue, was confronted with a profound dilemma: to obey or ignore his father’s orders to strike revenge against the man who insulted and disarmed his father (Don Diègue) in a jealous rage. The offending man in question is actually the father of Rodrigue’s bride to be. Yikes! Read more »
I had been long anticipating my return to the German capital after an unforgettable and intense summer studying there in 2011. One can scarcely walk a meter without encountering a stark reminder of the city’s turbulent past. Yet coming from placid, luxurious Geneva, where I am currently living, Berlin felt even more jarring than usual. Read more »
“Michael Volle is not into bling,” begins an article in ACT-O, the glossy magazine of the Grand Théâtre de Genève.
Clemency tends to get a bad rap these days, as polities demand swift action by leaders whose mandates to govern are violently threatened by “terrorists.”
What would you do if I asked you to take a old, faded version of Puccini’s score for La Bohème and fill in the unreadable parts with a mélange of disco, kabarett, and Alban Berg?
Heaven temporarily relocated to the Théâtre des Champs-Élysées Sunday evening for a concert performance of Rossini’s revered but rarely heard Semiramide.