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Cecilia Bartoli stars in this ebullient Zurich Opera House production of Rossini’s first French-language comedy opera described by the international press as “pure, unadulterated fun” and reminds us of her comic gifts and her naturalness as a stage actor — as well as her total sympathy with the music of Rossini.

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When Strauss and Hofmannsthal wrote «Der Rosenkavalier» – setting it in an imaginary Rococo Vienna and yet closely linked to the decadent fin de siècle – they created a profound social comedy. It is not without melancholy that the Marschallin lets her young lover Octavian go when he falls head over heels with Sophie, who hails from Faninal’s bourgeois household. As voluptuous as Strauss' score is, it contains tender moments of dream and melancholy. Director Lydia Steier stages Strauss’ opera according to an aesthetic concept by Austrian artist Gottfried Helnwein. Diana Damrau sings the Marschallin. Joana Mallwitz, chief conductor at the Konzerthaus Berlin, conducts the Orchester der Oper Zürich.

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Der Ring des Nibelungen in a production of the Zürich opera house, recorded 2024. "Dramatic music-making at its finest". In the hands of General Music Director Gianandrea Noseda and Stage Director Andreas Homoki, Wagner's myth is represented as "a dysfunctional family of gods" (The Independent) in a polished yet unpretentious production that underscores the humanity of the characters, who are performed by the same exceptional cast of singers across all four operas.

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Emmerich Kálmán’s Csárdásfürstin (The Gypsy Princess) was once one of the most popular works in the operetta repertoire, but has appeared only sporadically on the operatic stage in recent decades. The plot tells the story of a love triangle involving Sylva Varescu, a spirited variété artist of humble origin, and the aristocrat Edwin, who is already promised to another woman. The obstacle to their love is their difference in social status.

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Isabella is a strong, independent woman who has no intention of giving in to the clumsy advances of the powerful Mustafà. In the production by BAFTA winners Mosh Leiser and Patrice Caurier, which plays with prejudices about clashing cultures, Mustafà is no longer an Ottoman bey, but a shady gangster who traffics electronic goods in the port of Algiers.

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