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Past Production Reviews

4
Macbeth, Verdi
D: Barrie Kosky
C: Giampaolo Bisanti
Verdis "Macbeth" an der Wiener Staatsoper: Back to black

Koskys rabenschwarze Deutung des Werks ist sieben Monate nach ihrer ersten Wien-Präsentation erneut an der Staatsoper zu erleben: Back to black.

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21 January 2022www.derstandard.atStefan Ender
Peter Grimes, Britten
D: Christine Mielitz
C: Simone Young
A BOLT OF LIGHTNING IN THE STAATSOPER’S VOID - JONAS KAUFMANN AS PETER GRIMES: FIRST REVIEW

A Grimes of this magnitude has the potential to become perfection, raising memories of Vickers and dear Philip Langridge. Absolute perfection is attained by condutor Simone Young, who received the loudest ovations of the night from a near-capacity house. This score is under her skin and never sounded more thrilling and alive. The Staatsopernorchester was its best

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27 January 2022slippedisc.comLarry L. Lash
The tenor Jonas Kaufmann and the soprano Lise Davidsen are leading a luxuriously cast revival of Britten’s “Peter Grimes

The opportunity to hear Kaufmann in his debut as Peter Grimes, as well as Davidsen in her first staged performance as Ellen Orford.

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27 January 2022www.nytimes.comJoshua Barone
Il barbiere di Siviglia, Rossini
D: Herbert Fritsch
C: Stefano MontanariMichele MariottiGiacomo Sagripanti
Rothko meets Rococo in the Wiener Staatsoper's new Il barbiere di Siviglia

Flórez set a high bar, but the other principals cleared it. Paolo Bordogna was an engagingly buffo Bartolo. As Rosina, Vasilisa Berzhanskaya’s coloratura was impeccable, her middle voice well controlled, her high notes sure-footed. The robust baritone of Étienne Dupuis’ Figaro was the perfect instrument for the wily barber with his finger in every Sevillian pie who helps guide Almaviva and Rosina to a happy ending. And as the scheming Don Basilio, Ildar Abdrazakov’s gloriously effortless and sonorous bass was a treat. Also good, if not exceptional, were Aurora Marthens as Bartolo’s nerve-wracked maid and Stefan Astakhov as Almaviva's servant, Fiorello. And if not champagne, the Staatsopernorchester under Michele Mariotti was at least a sparkling wine, delivering much of the elegance, wit, zest and glitter found in the music. But not all was well on stage. No less an expert than Verdi wrote that Barbiere “is the finest opera buffa that exists”. Rossini left plenty of room for slapstick in his comic opera, but there was simply too much of it in this performance; too many unnecessary pratfalls, too much mugging. Simply put, it was too laboured an effort to be funny. And so, the heavy handed attempts to provoke laughs from the audience soon met the same fate as the perpetually moving scenic backdrops: at first pleasing, they soon turned annoying, two blemishes on an otherwise enjoyable evening.

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03 October 2021bachtrack.comGeorge Jahn