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The Orchestra Sinfonica Nazionale della Rai impresses in “bleeding chunks” from Wagner operas at the Festival de Pâques d'Aix-en-Provence.

Wagner is a rare bird in Perth; the second *Tristan und Isolde* in 12 years worth the wait, no less for being a concert performance, and for bringing Skelton's masterful interpretation to an Australian audience

The in-house orchestra played out of its skin under Fabio Luisi.

The final instalment of the Hong Kong Philharmonic's Ring cycle merits the orchestra joining the international big league. 

German theatre director Uwe Eric Laufenberg freely incorporates some of Stanley Kubrik’s horror story concepts into his Elektra, but in ignoring both Sophocles and Strauss, is a long way from shining.  

Gun-Brit Barkmin’s Salome was neither sexy, salacious, psycho-erotic nor particularly well sung.

Like most honest listeners I crave a taste of turpitude in Salome.

The Seattle Symphony's all-Strauss program included a refreshing take on the Four Last Songs with soprano Gun-Brit Barkman and a sonic tour de force in the rare Eine Alpensinfonie.

Andris Nelsons, the Boston Symphony Orchestra and Christine Goerke give a breathtaking, frenzied performance of Strauss's hate-filled opera, whose score still jars today.

The plot revolves around the daily life of a simple German town. But this fine production will make you glad that this is not your story.

Mauricio Sotelo's world première based on El Público, a fascinating surrealist play by Federico García Lorca, mixed flamenco and tragedy to achieve a great night of opera. 

Polish director Mariusz Treliński puts a contemporary spin on Salome by retelling the story from a victim's point of view. 

Who needs scenery anyway? A blistering Elektra from Semyon Bychkov, starring Christine Goerke, lights up the BBC Proms by sheer force of performance. 

In a concert of two halves, the Philharmonia fail to convince with Suk and Dvořák but provide a thrilling rendition of Janáček's Glagolitic Mass, a choral work that is dramatic, operatic, giant in scale and unique in style.

Christian Gerhaher gibt sein Münchener Wozzeck-Debüt in Kriegenburgs zeitlos packender Inszenierung.

Un tel écrin, pour cette distribution d'exception, semblait finalement être la moindre des choses.

Stéphane Lissner, en souhaitant honorer la musique chère à Boulez a eu raison de vouloir rappeler que le mésestimé Wozzeck demeure une œuvre musicale majeure de ce début de XXème siècle, ainsi qu’un mythe littéraire et politique vibrant d’actualité.

Rollendebüts und Wagnerwonnen: die Grazer Oper startete mit Richard Wagners Tristan und Isolde vielversprechend in die neue Saison.

Bei der Jubiläumsserie der Ariadne auf Naxos an der Wiener Staatsoper will trotz teils starker Gesangsleistungen keine wirkliche Feierstimmung aufkommen.