Artikel von Max Woods

What makes this production of The Rape of Lucretia stand out is the singers’ acting. It’s immediate, it’s integrated into the singing, and it’s better than anything I’ve seen in any opera production before. 

Claus Guth gives the Staatsoper Berlin a Turn of the Screw unlike any other.

Die Berliner Inszenierung von Candide ist ein Meisterwerk von dramatischer, komischer und musikalischer Brillanz.

Im dritten Teil von Rattles Schumann-Brahms-Zyklus in Berlin bot der Dirigent neue Einblicke in beide Werke, eine Freude, die allerdings von Makeln in der Darbietung getrübt wurde.

Torsten Fischer's Nazified production of Strauss' Daphne in the Semperoper Dresden may leave you confused, but it receives a solid performance. 

Es gab zwar widersprüchliche visuelle Aspekte in dieser Inszenierung von Bizets Carmen in der Dresdner Semperoper, aber es war eine erfreuliche Vorstellung, und wenn schon keine Augen-, dann sicherlich eine Ohrenweide.

From introspective Mahler to flowing Schumann, Claudio Abbado is remembered at a concert with the Mahler Chamber Orchestra in Dresden's Frauenkirche.

Taking a “transatlantic bridge” as their theme for the evening, the Chamber Music Society of Lincoln Center featured music by Ravel, Gershwin, Korngold and Antheil. 

A modern, simple production of Simon Boccanegra at Dresden's Semperoper, doesn’t interfere with the action.  

Les Arts Florissants performs Monteverdi's Seventh Book of Madrigals with a sense of spontaneity and flare at the Dresdner Musikfestspiele.

Deutsche Oper Berlin’s Billy Budd, although musically satisfying, suffers through an ambiguously set production. 

Erika Sunnegårdh’s Salome impresses in a revival of Peter Mussbach's striking production at the Dresden Semperoper. 

At the Komische Oper Berlin, West Side Story has some incredible highlights, but leaves a few too many whys to be wholly enjoyable, with some curious production details.

Peter Konwitschny’s Tannhäuser at Dresden’s Semperoper dates back to 1997, making it relatively old for an opera production, and though I sense this may be its last revival, it is still modern and engaging.

Simone Young and the Dresdner Philharmonie make a formidable partnership. The orchestra play with such a wonderful sound, especially in the wind and brass sections, and the range of colours they conjure is incredible. And Young clearly revels in the orchestra’s technical facility, but still always bringing something extra, and never taking away from what the orchestra can do for themselves.