The premiere of the thrilling Zurich production of this bel canto gem, directed by Christof Loy and conducted by Fabio Luisi, was enthusiastically received by critics and audiences alike. The two protagonists also met with acclaim: experience world star Joyce DiDonato in the trouser role of Romeo, with the young Ukrainian soprano Olga Kulchynska at her side as Giulietta.
For the new production of this operetta, world-class tenor Piotr Beczala returned to the Opernhaus Zürich as Sou-Chong. He has an equal partner in Julia Kleiter, who plays the role of Lisa. Fabio Luisi and Andreas Homoki also know that the genre of operetta requires particular care – which is why they have assumed personal responsibility for this production.
Christian Spuck puts the literary origin at the heart of his ballet, emphasizing the fantastical nature of the original rather than the delightful Christmas fairytale and bringing back the fairy tale of the princess Pirlipat, who turns into a nut monster, as told by E.T.A. Hoffmann.
Inspired by Prokofiev’s vivid music and the timeless quality of Shakespeare’s tragedy, choreographer Christian Spuck and the Ballett Zürich narrate the most famous love story in world literature using strong images that are full of enthralling theatricality and touching emotion. Michail Jurowski, a true Prokofiev expert, is at the rostrum of the Philharmonia Zürich.
With the „Messa da Requiem“, Christian Spuck brought one of Verdi’s key works to the stage. In a large-scale co-production by the Ballett and Oper Zürich, the German choreographer and director ventured to portray an unusual interpretation of Verdi’s funeral mass in his scenic-choreographic production. 36 dancers, the choir and supplementary choir of the Opernhaus Zürich as well as four highly acclaimed soloists joined together under the direction of Fabio Luisi for 13 wide-ranging scenes dedicated to one of the most fundamental themes of humanity.
Juan Diego Flórez is undisputedly one of the best belcanto tenors of our times and embodies a tortured and nuanced Werther. “It’s not a profane appearance of any singer – it is an epiphany!” gushes the Neue Zürcher Zeitung in a rave review. At Flórez’s side, Franco-British mezzo-soprano Anna Stéphany sang her role début as Charlotte. The one-room staging by Tatjana Gürbaca cleverly makes the social stranglehold of oppression tangible.
Andreas Homokis nightmarishly radical production is inspired by puppet theatre. Christian Gerhaher’s role début as Wozzeck can only be described as sensational: his capacity for vocal and dramatic subtlety is simply breath-taking. At the rostrum of the Philharmonia Zurich, Fabio Luisi explores both the expressionistic and the more intimate aspects, reminiscent of chamber music, in Berg’s seminal score.