A rare performance of The Tsar Wants His Photograph Taken, a 1927 operetta by Kurt Weill and Georg Kaiser, took place in London.  (The Guardian, 4/27/19; The Times of Israel, 5/19/19)

“When it comes to cutting-edge drama, more is more” at Theatertreffen Berlin.  (The New York Times, 5/16/19; Hyperallergic, 5/18/19)

Headphones on! Here’s a handy introduction to the leitmotifs of Wagner’s Ring cycle.  (The New York Times, 4/23/19)

“This is a play about the care that people, and nations, owe to the weakest among them.” The off-Broadway production All Our Children takes on the euthanizing of the disabled in Nazi Germany.  (The Broadway Blog, 4/14/19; The New York Times, 4/17/19)

Maggie Smith returns to the London stage as Joseph Goebbels’s secretary Brunhilde Pomsel in a one-woman show based on the 2016 film documentary A German Life.  (The Guardian, 4/12/19; Financial Times, 4/15/19)

“4 new operas in 4 months? Only in Berlin.”  (The New York Times, 4/24/19)

What makes the scene between Wotan and Brünnhilde in Act II of Die Walküre the heart of the Ring Cycle, and also “one of the most profound depictions of a father-daughter relationship in all the arts”? Anthony Tommasini breaks it down.  (The New York Times, 3/19/19)

Wow! Three remarkable one-man shows in the German-speaking theater world—based on the career of conductor Karl Böhm, and also the novels Submission (Houellebecq) and The Tin Drum (Grass).  (The New York Times, 2/22/19)

“The game of presenting a new production of ‘Die Zauberflöte’ is deadly serious, indeed — especially in Germany…”  (The New York Times, 2/15/19)

In memoriam: Bruno Ganz (1941-2019): Beloved and gifted actor, best known for playing the angel Damiel in Wings of Desire (1987) and a raging Hitler in Downfall (2004). He held the prestigious Iffland Ring. (The Guardian, 2/16/19; The New York Times, 2/16/19)