Artikel von David Karlin

Cold soju, warm people, old history, new stuff: our first trip to Korea fascinates.

Das Etikett “die meisten Opernregisseure” trifft jedoch *nicht* auf Barrie Kosky zu, dessen Bayreuth-Debüt der Meistersinger mit harten Bandagen kämpft.

Offenbach's vivid setting of E.T.A. Hoffmann's fantastic tales gets an enjoyable outing, with Spyres, Testé and Pudova the undoubted stars of the show.

With superb singing from Harteros, Salsi and Kaufmann, this production makes a strong case for Andrea Chénier’s continued presence in the repertoire.

Skelton's Florestan provides the power in a refined, elegant performance that brings out the beauty in Beethoven's score.

A convincing outing for Leoncavallo's rarely performed tale of adultery, populated by characters who are flesh and blood and are immediately recognisable today.

Robert Hollingworth and I Fagiolini provide a whistle-stop tour of Monteverdi's different styles, from madrigals to opera, dance and sacred music, with a newly commissioned contrast from former member Roderick Williams.

Problems of orchestral balance cloud Olivia Fuchs's straightforward, compelling staging of Janáček’s tirade against the rigidity and hypocrisy of small town society.

Lisette Oropesa gives a coloratura star turn; Renato Girolami and Andrey Zhilikhovsky give the buffo patter; Mariame Clément's staging focuses on the work’s dark side.

A strange evening: superb Mozart playing from Rousset, plenty of fine singing, staging and costumes that one certainly isn’t going to forget. But what’s the point of it all?

With great music, exceptional palaces and unique architecture, if you have any pretensions to knowing the great cities of the world, Saint Petersburg just has to be on your bucket list.

Garsington's latest Rossini buffa is on the nail orchestrally, mixed vocally and one of the best pieces of acting and stage movement you'll see in opera.

In Tarkovsky's venerable production, the Mariinsky orchestra and chorus are brilliant – but too brilliant for their soloists, including two replacement Borises for an indisposed Mikhail Petrenko.

Rodion Shchedrin's opera mixes singing, choreography and storytelling to lend a potent sacred and mystic overlay to Nikolai Leskov's folk tale.

Isabelle Patriot-Pieri's new production is a quirky mix of traditional and the opposite; Netrebko shows her star quality; Eyvasov impresses.

Valery Gergiev and the Mariinsky Orchestra celebrate Stravinsky with a gala that closes with an outstanding Firebird; young talent blooms in A Soldier's Tale

Brecht and Weill's tirade against Big Money is exceptionally well acted throughout; vocal and musical performances are more mixed.

Brett Dean treats Shakespeare's behemoth as a timeless story told in language that has become timeless; no effort is spared in elucidating and amplifying that story.

Woefully stiff acting lets down an otherwise excellent production; Joseph Calleja impresses in his role début as Cavaradossi.

Il ritorno d’Ulisse in patria tells one of the world’s great stories. This production is a treat for early opera fans and a great introduction for those new to the genre.