Features (Selection)

Unearthing the Links Between Beethoven and the Vienna Philharmonic
New York Times, December 2019

“Bernstein, Blitzstein and Weill”
Prelude, Fugue, Riffs, News for the Friends of Leonard Bernstein, Spring/Summer 2019

At the Salzburg Festival, Myths and Reality Meet Onstage
New York Times, July 2019

La Scala’s Director Thinks, and Works, Globally
New York Times, June 2019

For His 200th Birthday, a Composer Gets a Closer Look
New York Times, May 2019

Opera Houses Find More Ways to Meet Fans Where They Are
New York Times, April 2019

A Chance for Young Artists to Shine on the Opera Stage
New York Times, April 2019

Restoring a Corner of Dresden’s Royal Past
New York Times, April 2019

The Vienna Philharmonic Looks to a New Generation
New York Times, January 2019

Restoring Musical Legacies in Vienna
New York Times, January 2019

‘Les Huguenots’ Puts Religious Politics at Center Stage
New York Times, September 2018

Salzburg Pays Tribute to Gottfried von Einem
New York Times, July 2018

Virtual Reality Asserts Itself as an Art Form in Its Own Right
New York Times, May 2018

Through Opera, Debussy Reaches a New Audience
New York Times, April 2018

Through Opera, Debussy Reaches a New Audience
New York Times, April 2018

In Berlin, Looking at a Familiar Art Collection With New Eyes
New York Times, April 2018

Reviews (Selection)

Gender-flexing Orlando in Vienna is less than the sum of its parts
Financial Times, December 2019

The Salzburg Festival’s Oedipe is both illuminating and distracting
Financial Times, August 2019

Glanert’s Oceane: A Water Nymph Out Of Her Depth
Classical Voice North America, May 2019

Separate Stages, Two Results For Myths As Opera
Classical Voice North America, April 2019

Orest — an opera of unbroken tension at the Wiener Staatsoper
Financial Times, April 2019

Flute Is Redrawn In Cartoon Images (Strings Attached)
Classical Voice North America, February 2019

Ultraschall Fest Gives Posthumous Hirsch Premiere
Classical Voice North America, January 2019

A dancing Messiah at the Philharmonie, Berlin
Financial Times, December 2018

Alcina, Theater an der Wien, Vienna — disenchantment
Financial Times, September 2018

Berlin Philharmonic, Philharmonie, Berlin — technically precise
Financial Times, September 2018

Lucerne Festival, KKL Lucerne, Switzerland — intriguing connections
Financial Times, August 2018

The Hunting Gun, Bregenz Festival, Austria — explosive intensity
Financial Times, August 2018

Der Prozess, Felsenreitschule, Salzburg — precision and clarity
Financial Times, August 2018

L’incoronazione di Poppea, Salzburg Festival — dizzying power games
Financial Times, August 2018

Maria Stuarda, Deutsche Oper Berlin — unflappable Diana Damrau
Financial Times, May 2018

From the House of the Dead, Bavarian State Opera, Munich — grim but absurdist
Financial Times, May 2018

Das Paradies und die Peri, Philharmonie, Berlin — a luxury line-up
Financial Times, May 2018

Semele, Komische Oper Berlin — invigorating and irritating
Financial Times, May 2018

Frosch As Android: Regietheater Comes To Die Fledermaus
Classical Voice North America, May 2018

Thomas Adès leads a stirring death dance in Berlin
Financial Times, April 2018

Falstaff, Staatsoper Unter den Linden, Berlin — portrait of a social divide
Financial Times, March 2018

Neglected Opera By Korngold Turns Out To Be A Gem
Classical Voice North America, March 2018

Beauty Of Cilea’s L’Arlesiana Shines In Concert Revival
Classical Voice North America, March 2018

Die Gezeichneten, Komische Oper Berlin — tasteless banality
Financial Times, January 2018

Deutsches Symphonie-Orchester Berlin/Honeck — tension and release
Financial Times, January 2018

Antonio Pappano’s seamless return to the Berlin Philharmonic
Financial Times, January 2018

A musically gripping Jephtha at the Palais Garnier in Paris
Financial Times, January 2018

Rattle, Berlin Aim To Tempt Appetite For Musical Tapas
Classical Voice North America, January 2018

Interviews (Selection)

Männer und Frauen waren schon immer ebenbürtig (Interview with the tenor Charles Castronovo)
Max Joseph [magazine of the Bavarian State Opera], 2018-19 Season, Nr.3

Vladimir Jurowski Breaks Molds in London, Berlin and Beyond
New York Times, June 2018

Designing Buildings That Speak to the World
New York Times, May 2018

Selling Off Art to Support a Better World
New York Times, April 2018

Profiles (Selection)

Kirill Gerstein: battling it out with Gershwin and Schönberg
Financial Times, January 2017

New Artist of the Month: Aziz Shokhakimov
Musical America Worldwide, September 2016

Olga Neuwirth maintains eclectic Path in her Music
New York Times, August 2016

New Artist of the Month: Simone Rubino
Musical America Worldwide, April 2016

New Artist of the Month: Tobias Greenhalgh
Musical America Worldwide, January 2016

Tansel Akzeybek eröffnet die Bayreuther Festspiele
Berliner Morgenpost, July 2015