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Hanna-Elisabeth Müller joined the visiting Deutsches Symphonie-Orchester Berlin for Mahler's Fourth Symphony and Unsuk Chin's surprising Puzzles and Games, derived from her opera Alice in Wonderland.

Peter Kellner and Slávka Zámečníková's charming duo anchors this revival of Barrie Kosky's high spirited production.

Soloists, orchestra and chorus fully contribute to a powerful rendition of Mahler's Second Symphony, but it serves as a reminder of issues that have marked van Zweden's Mahler during his New York tenure. 

While the semi-staging falters, Hanna-Elisabeth Müller and Magdalena Kožená prove a thrilling pair in Mozart's final opera seria. 

Despite an incapacitated Ying Fang miming the role of Susanna, the brilliant cast makes Barrie Kosky's new production worth the night out in Vienna. 

Frozen lava rock extends from the proscenium to the backcloth, an apt image to depict the harm Don Giovanni inflicts upon the other characters in Mozart's darkest opera.

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

The Don is dark and light, the production somewhere in between, with strong singing and musical direction but stodgy staging. 

Diego Fasolis leads a period performance of Mozart’s early masterpiece with a strong cast and a clever production.

Kirill Petrenko’s second night at Carnegie Hall packed a punch as the orchestra of the Bayerische Staatsoper delved deep into Strauss’ score, supporting an impressive cast of singers.

In Jetske Mijnssen’s new production of Idomeneo, all order of human entanglements, sorrows and pain run rampant.

Robert Carsen's Don Giovanni cannot burn in a hell in which he does not believe. 

The Met revived Beethoven's only opera Fidelio with a strong cast and excellent chorus and orchestra, with a production that celebrates liberty and love.

Thomas Hengelbrock and the NDR Elbphilharmonie Orchestra open Hamburg's Elbphilharmonie concert-hall with a traversal of music through the ages, from a Renaissance motet to Wolfgang Rihm's latest work.

Iván Fischer's staged concert had its flaws, but some original ideas and a strong cast gave an impressive performance.

Dutch National Opera have given themselves and their patrons a smashing 50th birthday present – a production of Der Rosenkavalier that is a winner on all fronts.

An all-Mozart Filarmonica della Scala concert with soloists Vilde Frang and Hanna-Elisabeth Müller under conductor Marc Minkowski's lacked cohesion.

The Bayerische Staatsoper's Ring cycle has been full of ups and downs. It ended on an up, thanks to Petrenko's brilliant conducting, a strong cast, and a fun staging.

Kriegenburg's staging of Wagner's Ring cycle begins with a visually appealing but intellectually empty Rheingold.

The music makes this an enchanting Die Frau ohne Schatten, even if Warlikowski’s fantastical production remains an unsolved puzzle.

The Bayerische Staatsoper's production of Hänsel und Gretel is successful both musically and dramatically, but don't come expecting a charming fairy tale: This eerie staging is not for the very young or the faint of heart.

Hanna-Elisabeth Müller gives a stellar performance of "Das himmlische Leben" to crown Philharmonia Zürich's Mahler 4. 

The Bayerische Staatsoper's La clemenza di Tito features a bold staging, a talented cast of singer-actors, and a great orchestra. Time, place, and genders are all ambiguous, but none of that gets in the way of the story.