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A match made in heaven: director's Homoki's compelling interpretation of Das Rheingold is married to exciting musical direction from Gianandrea Noseda, not to mention the stellar cast of singers. 

Continuing Adelaide’s partnership with the Aix-en-Provence Festival another impressive, quirky, creative, imaginative Barry Kosky opera has enriched Adelaide’s Festival scene.

The Opernhaus presents Jetske Mijnssen's new production of Poulenc’s masterpiece, under the baton of Tito Ceccherini. 

Andreas Homoki’s production suffers from last season's Covid restrictions, resulting in an alienating, aloof performance, but under the energetic baton of Marco Armiliato, it still proves a very successful musical evening.

Julie Fuchs and Delphine Galou shine in this revival and the Orchestra La Scintilla gives a great performance under Ottavio Dantone’s baton.

Andreas Homoki's staging takes full advantage of Hartmut Meyer’s utterly spectacular set, while Elena Stikhina sings the difficult title role to perfection. 

The Zurich Opernhaus tackles the pandemic with an innovative strategy: instead of reducing the size of orchestra and chorus (as many other European opera houses) it removes them from the theatre altogether. 

In its revival here in Zurich, the soloists and choir of Beethoven's Fidelio give stellar vocal performances. But having done away with any real set, the opera was not without its shortcomings.

Barrie Kosky’s visually stunning and very finely sung Eugene Onegin from Komische Oper reaches Edinburgh, a triumphant showcase for soprano Asmik Grigorian.