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Barrie Kosky's new production of Philip Glass' Akhnaten for Komische Oper at the Schillertheater removes any egyptological references. 

Thanks to Barrie Kosky's flamboyant imagination and a solid cast, the Komische Oper's new production of La Cage aux Folles glitters, but could be more gay.

The Salzburg Festival's production of Offenbach's Orpheus in the Underworld is another classic in the making from Barrie Kosky.

Stefan Herheim packs puns and gags into a three-hour long show, but less could have been more. 

“Fiddler on the Roof” as a universal parable of tradition 

Komische Oper's re-imagining of Nico Dostal's 1933 operetta makes for delightfully escapist, romantic evening out, while Christoph Marti's superb drag performance of the title role makes it a memorable one.

Barrie Kosky, with nods to the surreal and the macabre, plunges us headlong into Hoffmann’s nightmarish world in a terrific new production at the Komische Oper.

The Komische Oper production of Die Zauberflöte is a modern classic: absolute magic conjured by Barrie Kosky and the team from 1927 theatre.

Usually, I don’t find much to be excited about in opera stagings meant to overhaul the genre, to give it the resuscitation it apparently needs. They are always more promising on paper, always less effective in execution: I’ve seen all kinds of sexual permissiveness, giant machines, film projections, even singing robots (an especially low point).

Signs of birth and death – but moreso death – flash continuously through the Latvian director Viestur Kairish’s new production of Britten’s A Midsummer Night’s Dream, which opened the Komische Oper Berlin’s 2013/14 season.