“Stage director Graham Vick and set designer Paul Brown conjure up an “open-air spectacle of superlatives” (Die Zeit about Aida) “A gigantic set with iconic qulities – a masterly achievment“ (Die Welt about Andrea Chénier) “David Pountney finds stunning answers to the everlasting questions surrounding ‘The Magic Flute’.” (Der Tagesspiegel about Die Zauberflöte) „A bit of Hollywood in Bregenz: Melodies for the millions, impressively staged grand opera.“(ZDF heute journal about Turandot) „… Kasper Holten’s production of Carmen on Es Devlin’s extraordinary set was a knockout. …“ (The Telegraph)
Turandot
Mention Giacomo Puccini’s name and opera-lovers all over the world will think of grand opera and passionate love stories. One of the world’s most famous arias comes from the composer’s final opera, Turandot: “Nessun dorma” – none shall sleep because by morning the Chinese princess is determined to have discovered the name of the unknown prince. The work is remarkable for ist Chinese local colour, ist opulent crowd scenes, ist powerful choruses and ist characters overwhelmed by their emotions. Enthusiastically acclaimed by ist audiences, the present production combines spectacular and touching scenes on the Bregenz Festival’s vast lakeside stage.
Capriccio
Richard Strauss’s last stage work is an opera about opera as an art form, depicting the creation of a music drama in a wise and witty way. Which came first – words or music? That is the question that Strauss and his librettist Clemens Krauss address through the story of a Countess torn between a composer and a poet. “Renée Fleming is a world-class Countess, moving and intense … All around her there is luxury casting: Bo Skovhus as the Count, Michael Schade as Flamand, Markus Eiche as Olivier, Kurt Rydl as the theatre director La Roche, the wonderful Angelika Kirchschlager as Clairon – all strike exactly the right note, as do the singers in the smaller roles, turning this Capriccio into an event of the first importance.” (Der Kurier, Vienna)