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The Baden-Baden Easter Festival presents an extraordinary performance of Elektra, with Nina Stemme in the title role and the Berliner Philharmoniker, led by Kirill Petrenko, in a stark and modern production. 

The Baden-Baden Easter Festival offers a memorable production of Pique Dame with excellent musical performances convincing in Leiser and Caurier's updating of the plot.

Nézet-Séguin and the Chamber Orchestra of Europe bring to a triumphant end their Beethoven cycle in Baden-Baden with coruscating performances of the Second and Third Symphonies.

The elegance of the First Symphony served as a perfect curtain raiser for the mammoth, exultant Ninth.

John Neumeier presents the first full-length Covid-compliant ballet, a series of “delicious miniatures” created on the company's entire ensemble of almost 60 dancers.

Zubin Mehta conducts Verdi's Otello in an iconic Robert Wilson production of stylized theater where less is more. The effect was mesmerizing.  

Christian Carsten’s hilarious production of Die Gärtnerin aus Liebe reveals Mozart’s non-judgmental social satire and irrepressible sense of fun.

Elīna Garanča brings subtle sonorities to an otherwise bravura and boisterous concert by Simon Rattle and the Berlin Philharmonic.

Dieter Dorn’s staging robbed Wagner’s final masterwork of magic and mystery while Simon Rattle set new speed records.

Sir Simon and Berln Philharmonic triumphed in a thought-provoking production of Tristan und Isolde with a fine ensemble of singers.

As part of their blockbuster festival programme Simon Rattle and his brawny Berliners offered Beethoven’s Ninth in a monumental performance. 

This was the second of a triptych of concerts in Baden-Baden centred around the Russian cellist Mischa Maisky, who played here with the Bamberger Symphoniker and Jonathan Nott in an all-Dvořák programme.Dvořák's Cello Concerto in B minor is his final large-scale orchestral canvas, and justly celebrated as one of his finest achievements.