Newsletter

Disappointing new Lohengrin in Hannover redeemed by some of the singing

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GermanyGermany Wagner, Lohengrin: Soloists and Chorus of Hannover State Opera. Niedersächsisches Staatsorchester Hannover / Stephan Zilias (conductor). Hannover State Opera, 12.10.2025. (DM-D)

Elsa (Viktorija Kaminskaite) and Lohengrin (Maximilian Schmitt) in Act III (Bridal Chamber scene) © Bettina Stöss

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Three Cio-Cio-Sans in Bremen’s intriguing new Madama Butterfly

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GermanyGermany Puccini, Madama Butterfly: Soloists, Chorus and Extra Chorus of Bremen Theatre, Bremen Philharmonic / Sasha Yankevych (conductor). Bremen Theatre, 11.10.2025. (DM-D)

[l-r] Michal Partyka (Sharpless), Sarah-Jane Brandon (Cio-Cio-San II), Oliver Sewell (Pinkerton) and Brigitte Hahn (Cio-Cio-San III) © Jörg Landsberg

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Salamon Kamp conducts a Bach Cantata in a church service as the composer intended

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HungaryHungary Bach, Cantata BWV 69 (Lobe den Herrn, meine Seele): Lutherania Choir, musicians / Salamon Kamp (conductor). Lutheran Church, Deák Square, 1052 Budapest, 7.9.2025. (AK)

Salamon Kamp conducts Bach’s Cantata BWV 69 (Lobe den Herrn, meine Seele) © Lutherania Choir

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Traversing borders of style and remembrance: Lahav Shani and the Israel Philharmonic at Carnegie Hall

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United StatesUnited States Prokofiev, Ben-Haim, Tchaikovsky: Pinchas Zukerman (violin), Israel Philharmonic Orchestra / Lahav Shani (conductor). Stern Auditorium, Carnegie Hall, New York, 15.10.2025. (ES-S)

Pinchas Zukerman and the IPO conducted by Lahav Shani © Stephanie Berger

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Conductor Giancarlo Guerrero in conversation with Gregor Tassie

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Gregor Tassie talks to conductor Giancarlo Guerrero about Shostakovich and his opera Lady Macbeth of Mtsensk District 

Giancarlo Guerrero © Lukasz Rajchert

From my review of a recent performance of Shostakovich’s Lady Macbeth of Mtsensk District: ‘Guerrero’s masterly analysis of the score and his authority in guiding this excellent orchestra of Romanian Radio was at the centre of the evening – the orchestra unveiled world class virtuosity with the brass group in particular evincing the often ribald brutality of Shostakovich’s orchestration, with the woodwind matching them with the quirky intonation of the composer’s frequently piquant and satirical score. At significantly dramatic moments, Guerrero brought out the expressive passages on the violas which was another eloquent and impassioned element of Shostakovich’s orchestration.’

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