Madison Schindele
Maddie Schindele is based between NYC and Berlin and is a Ph.D. candidate in musicology. She enjoys writing about modernist German opera, disability, and feminist musings!
Barrie Kosky’s zany production of The Nose time-steps back onto the Komische Oper Berlin stage.
That Trump opera at the Staatsoper Hamburg is lazy activism at its finest, we fear.
Despite some complications, the Deutsche Oper exhumes buried treasure in Franz Schreker’s Der Schatzgräber.
A chic production of Violanta at the Deutshce Oper Berlin continues the Korngold craze on the other side of the Atlantic.
A classic German fairytale gets a modern update at the Staatsoper Berlin.
“Call me traditional, but I want to see a silver platter!”
A patchy production and musical performance can’t dull the edge of Rise and Fall of the City of Mahagonny at the Komische Oper Berlin
“Protect the dolls, they say, but who really cares for them?” This question, posed by performer Mara Snip during the postlude of Neuköllner Oper’s 1000 Airplanes on the Roof, had a clear answer: Aliens.
Michael Thalmeier‘s Tristan und Isolde in Berlin asks, how much minimalism is too much minimalism?
Anthony Hüseyin‘s eclectic recital in Berlin explores femicide in opera through a queer, nonbinary lens.
Madison Schindele on loving Die Frau ohne Schatten as a “woman of childbearing age”
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
