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Aribert Reimann's Lear takes no prisoners in a disturbing portrayal of a world gone awry, but Barbora Horáková's scattergun direction adds to the confusion. 

A superb cast of singers is let down by Christoph Marthaler's cold, stilted staging as Reimann's Lear returns to its birthplace.  

A brilliantly staged production of Reimann's Ghost Sonata by Opera Australia shows once again that modernist opera can be compelling if a provocative story is rendered by an outstanding cast.

In L’Invisible, which had its première last weekend at the Deutsche Oper Berlin, Aribert Reimann has condensed three plays by Maeterlinck into bite-size chunks that vanish before they can be savoured.

A woman, mother and outcast needs to make life choices in a hostile environment.

In 2010, the première of Reimann's Medea was welcomed with enthusiasm, leading the Staatsoper to relaunch it this season for a second run.

Deutsche Oper Berlin present an eclectic concert in celebration of the life and career of composer Aribert Reimann.

In a reconstruction of Jean-Pierre Ponnelle’s production for the world première of Reimann’s soul-pummelling Lear, the staging stands the test of time, but the cast and orchestra leave the biggest impression.

The opening concert of the Wiener Konzerthaus in 1913 featured a performance of Beethoven’s Ninth Symphony with a celebratory prelude written by Richard Strauss. To mark its 100 year birthday, this Sunday morning the Vienna Philharmonic, led by the eminently engaging Gustavo Dudamel, performed Beethoven’s Ninth as well, but this time with a “Prolog” written by living composer Aribert Reimann.