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Dmitri Tcherniakov’s staging of Rusalka in Naples has a starkly modern visual style which occasionally dilutes the story’s emotional impact.

Dmitri Tcherniakov updates the "German Romantic Opera" into a modern-day thriller with interesting twists in a musically splendid performance in Munich.

To outwit death and attain immortality is a dream as old as human history. But isn’t it precisely the finite nature of life that makes it so precious?

Dmitri Tcherniakov's staging turns Rimsky-Korsakov's opera into storytelling for an autistic boy, but does he deliver a fairy tale ending? 

The Russian director's role play production of Prokofiev's comedy falls flat at the Staatsoper.

Tcherniakov reduces Berlioz' epic to little more than Circle Time therapy, a poor way to mark the composer's anniversary year.

A passionless staging of Wagner's masterpiece throws cold water on Barenboim's fiery conducting at the Staatsoper.

Love may well be a rebellious bird, but that's as nothing to maverick director Dmitri Tcherniakov, whose twisted staging for Festival d'Aix reimagines Bizet's opera as a radical therapy session.

This Paris production of The Snow Maiden proves that director Dmitri Tcherniakov is today's greatest champion of Rimsky-Korsakov's operas. 

Magisterial playing and conducting underpin an outstanding, engrossing evening of Wagner at the Schiller Theater.

Tcherniakov's moving production delves into the psychological rather than revelling in the spectacular. 

Péter Eötvös conceived his opera Senza Sangue (Without Blood) as a complement to Bartók's Bluebeard's Castle. Dmitri Tcherniakov has now staged and designed Senza Sangue together with Bluebeard's Castle for Staatsoper Hamburg.

Anyone expecting a wishing well, castle and healthy portion of pomp in Dmitri Tcherniakov’s new production of Pélleas et Mélisande is in for a big surprise.

In Paris, Russian enfant terrible reunites Iolanta with The Nutcracker... with wildly mixed results. 

Dmitri Tcherniakov turns Shostakovich's "satirical tragedy" into a riveting piece of theatre, help by an outstanding performance from Patricia Racette and a top class orchestral performance from new ENO Musical Director Mark Wigglesworth.

Even the best opera glasses would be no match for the intensity of this close-up introspection: a new production of Borodin's Prince Igor is playing at the Met.

Verdi's Simon Boccanegra explores how the characters of powerful men change (or don't) with age and fortune: the action happens over several decades, and the character of Simon gives wonderful scope for some serious character acting.