The mirror stage
Now in its penultimate installation, Tobias Kratzer’s Munich Ring is reaching full maturity—without compromising its humor.
Now in its penultimate installation, Tobias Kratzer’s Munich Ring is reaching full maturity—without compromising its humor.
Louise Alder enchants in the comically-inclined revival of Claus Guth’s production of Semele at the Bayerische Staatsoper.
Philippe Sly is sublime as Messiaen’s Saint François D’Assise in Salzburg, though Romeo Castellucci‘s production could brush up on its catechism.
Malin Byström is a radiant water nymph in the Bayerische Staatsoper‘s house-of-horrors-set Rusalka.
Dmitri Tcherniakov‘s production of Der Freischütz in Munich may fire a few blanks, but the musicians are all on target.
The Bayerische Staatsoper’s summer festival wound down with Lotte de Beer’s darkly effective production of Gounod ’sFaust.
The Bayerische Staatsoper’s Ring cycle scores another triumph with Tobias Kratzer’s take on Die Walküre.
Brett Dean‘s Of One Blood casts a well-trodden Tudor tale in a poignant, new light.
I don’t know if I’ll ever hear as great a performance as René Pape‘s Gurnemanz.
A captivating Asmik Grigorian leads the Bayerishce Staatsoper‘s revival of its Holocaust-set Salome.
As Messiah season begins, Christopher Corwin reports on two of Handel’s forays into the Old Testament.
Tobias Kratzer‘s Das Rheingold in Munich kicks off a Ring for the post-secular age
This summer’s festival, taking place amid record high temperatures and in the wake of its artistic director, Pierre Audi, featured a disquietingly zeigeisty focus on sexual violence.
In Lohengrin, populism comes to an apocalyptic end on the Bavarian stage
Claus Guth mines urgent and contemporary commentary from Die Liebe der Danae in Munich.
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