Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Stephen Bronk

Set in a 1930s music school, Sergio Morabito, Jossi Wieler and Anna Viebrick's new production of Die Meistersinger von Nürnberg at Deutsche Oper Berlin has some inspirational ideas but they often get in the way of the music.

Christof Loy unearths hidden treasure with an opera by Franz Schreker long since buried after taking Europe by storm in the 1920s.

Deutsche Oper Berlin's revival of Manon Lescaut achieves a rare theatrical success; a witty and visually stunning production combined with thrilling music making in the pit with Sir Simon Rattle leading the orchestra and singers with emotional urgency.

Based on Theodor Fontane's novel Oceane von Parceval, Detlev Glanert's eleventh opera is given its world premiere at Deutsche Oper.

Staging the story of the Italian political figure Rienzi as that of a dictator in 20th-century Germany was an inspired idea. This revival was a rare occasion to experience Wagner's early opera. 

Deutsche Oper Berlin's Salome was a mixed blessing: a magnificent Catherine Naglestad as the heroine, with good ensemble of singers and orchestra, but a thoughtful but far-fetched psychological interpretation.

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.

Puccini's La fanciulla del West gets a modern update at the Deutsche Oper Berlin.

Rolando Villazon's new production of Puccini's La rondine for the Deutsche Oper Berlin charms with 1920s glamour.

Le nozze di Figaro in Götz Friedrich’s vintage production at the Deutsche Oper Berlin provides an entertaining evening. 

Ailyn Perez, Stephen Costello and Simon Keenlyside star in Verdi's La Traviata at the Deutsche Oper Berlin.

The Magic Flute at the Deutsche Oper Berlin is an interesting, well-sung and well-performed classic. Set in an agrarian world where Sarastro is less a high priest than he is a benevolent farmer-king, Günter Krämer’s 1991 production does not subvert the opera’s problems so much as it highlights them.