Live, Video: Find classical music concert, opera, ballet and dance reviews | Clemens Bieber

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.

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.

The production was interesting but at times distracting, but the musical performances triumphed. 

Elektra, as performed during the Deutsche Oper Berlin Strauss-Wochen: Such gorgeous music, we will all want to dance ourselves to death.

A modern updating of Vasco da Gama's discovery of a sea route to India? Vera Nemirova's stylish production of Meyerbeer's Grand Opéra works inteligently for the most part. 

Rare Bruckner psalm setting brought to light and given a stunning performance with Mass no. 3 by Munich Philharmonic Choir, Philharmonia Festive at Ebrach's 25th jubilee concert.

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

Richard Strauss' Ariadne auf Naxos amuses in a concert version put on by the Deutsche Oper at the Philharmonie in Berlin, with good performances from Meagan Miller (Ariadne) and Susanne Elmark (Zerbinetta).

A respectable performance by Deutsche Oper Berlin, raised to another level by Nina Stemme in the title role

Deutsche Oper Berlin’s Billy Budd, although musically satisfying, suffers through an ambiguously set production. 

When audiences first heard Wagner’s Tristan and Isolde, they were stunned by the sustained, passionate eroticism of the score, with the musicians amongst them amazed by the variety of novel compositional devices.

Mis en scène par Kirsten Harms, Tannhäuser s'avère inégal. Se distinguent Ante Jerkunica (en Landgrave royal) et Camilla Nylund, formidable dans sa double interprétation de Venus/Elisabeth.

Trotz starker musikalischer Leistungen geht Claus Guths Salome-Konzept an der Deutschen Oper nicht auf.